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DRMC finalises new 10-storey academic building’s design
Dhaka Residential Model College has finalised the design for its new ten-storey academic building through a nationwide architectural competition jointly organised with the Institute of Architects Bangladesh (IAB). The competition, announced on October 5 last year, drew registrations from nearly 150 architectural consultancy firms, with around 90 proposals submitted. After extensive review and evaluation, the jury selected the winners. At a ceremony held on Sunday evening at the IAB headquarters in Agargaon, the winners were awarded and an exhibition of the top six designs was inaugurated. The event was attended by senior officials including Md. Mahbubul Haque Patwary, Additional Secretary of the Ministry of Education’s Secondary and Higher Education Division, who was the chief guest. Special guests included Brigadier General Mohammad Jaber Hossain, Principal of Dhaka Residential Model College, and Ahmed Ashfaqur Rahman, Publicity Secretary of the Old Remians Welfare Association. The programme was chaired by IAB President Professor Dr. Abu Sayeed M Ahmed. The jury board comprised representatives from Dhaka Residential Model College and the Old Remians Welfare Association, alongside architects Jalal Ahmed, Patrick D’Rozario, and SM Nazimuddin Payel. FORM3.Architects, led by Principal Architect Didarul Islam Bhuiyan, won first place. Archeground Limited, under the leadership of Architect Nabi Newaz Khan, secured second place, while Arcadian Architects, led by Architect Tawhidur Rashid, came third. Special commendations were awarded to Zero D Consultants, Khetro, and Roofliners_Studio of Architecture. The exhibition of the winning and commended designs will run from February 8 to 18 at the IAB Centre, open daily from 12 pm to 8 pm, and accessible to the public. Established in 1960, Dhaka Residential Model College spans 52 acres in Mohammadpur and accommodates approximately 6,000 students across various academic levels. Initially governed by the Central Government of Pakistan, the institution underwent several administrative transitions before being placed under the Ministry of Education in 1972. Despite its autonomous status and historical significance, the college’s infrastructure has aged considerably, prompting the Board of Governors to approve a major upgrade during its 162nd meeting on June 26, 2025. Competition Details and Design Vision The competition, launched on October 5, 2025, was a single-stage open call for Bangladeshi architects. It sought innovative, sustainable, and contextually responsive designs that integrate seamlessly with the existing campus. Architects were encouraged to use local materials and environmentally friendly technologies, with an emphasis on rapid construction techniques and low future maintenance costs. Design considerations outlined in the brief include: climate responsiveness and passive cooling, universal accessibility, integration of landscape and open spaces, cultural and contextual relevance, interconnectivity with existing academic buildings, energy efficiency and future-readiness. Written By Nibir Ayaan
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Marina Tabassum, eight other eminent citizens, and a music band to receive Ekushey Padak 2026
The government has nominated globally renowned architect Marina Tabassum, along with eight other eminent citizens and a music band of Bangladesh, for this year’s Ekushey Padak—the country’s second-highest civilian honour—for their outstanding contributions in their respective fields. The other honorees are Farida Akhtar Bobita for film, Prof. Md Abdus Sattar for fine arts, the late Ayub Bachchu and the band Warfaze for music, Arthy Ahmed for dance, Islam Uddin Palakar for theatre, Shafik Rehman for journalism, Prof. Dr. Mahbubul Alam Majumdar for education, and Tejos Halder Josh for sculpture. The names for the Ekushey Padak 2026 were announced on February 5. The list was disclosed by Chief Adviser’s Press Secretary Shafiqul Alam at a press briefing, where he said the nominations had been finalised at a meeting chaired by Cultural Affairs Adviser Mostofa Sarwar Farooki. Short profiles of the recipients: Marina Tabassum (Architecture): An internationally acclaimed architect known for her climate-responsive designs, she is also a two-time recipient of the Aga Khan Award for Architecture. Farida Akhtar Bobita (Film): A veteran actress of Bangladeshi cinema whose career spans several decades. Her powerful performances have made a lasting contribution to Bangladesh’s film fraternity. Prof. Md Abdus Sattar (Fine Arts): A distinguished artist and educator who has played a significant role in the advancement of fine arts in Bangladesh. His works resonate with cultural memory and a strong sense of aesthetic harmony. Late Ayub Bachchu (Music): An iconic rock musician who redefined the sound and spirit of modern Bangladeshi music with his powerful guitar work and songwriting. He is considered the finest guitarist in the country. Warfaze (Music – Band): One of Bangladesh’s most influential rock bands, recognised as pioneers of heavy metal and hard rock. Their nomination marks a historic milestone as the first rock band to be nationally recognised. Arthy Ahmed (Dance): A distinguished dancer and choreographer, celebrated for her contributions to both classical and contemporary styles. Islam Uddin Palakar (Theatre): A respected theatre artist and director whose work in performance and direction has enriched the cultural fabric of the nation. ‘ Shafik Rehman (Journalism): A veteran journalist and columnist known for his bold, socially conscious commentary. His fearless voice has left a lasting imprint on media and public discourse. Prof. Dr. Mahbubul Alam Majumdar (Education): An eminent scholar and academic leader whose vision and dedication have had a lasting impact on institutional growth and educational quality. Tejos Halder Josh (Sculpture): A prominent sculptor known for his evocative, socially conscious, and expressive artworks, which have earned him widespread recognition in Bangladesh’s art community. Written By Tasmiah Chowdhury
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Ar. Jalal Ahmed Delivers Insightful Speech at Institute of Architects Pakistan Expo (IAPEX)
The Institute of Architects Pakistan Expo (IAPEX) 2026, a premier building materials exhibition and architectural conference in Pakistan, once again served as a pivotal platform for architects, industry leaders, and innovators. Organised by the Karachi Chapter (IAP-KC), the event was held from January 30 to February 1 at the Expo Centre Karachi, where renowned Bangladeshi architect Jalal Ahmed joined as one of the prestigious speakers. The event was inaugurated with a welcome address by Chairperson Ar. Sohail Ahmed Chohan, followed by an opening speech by IAP President Ar. Fawad Sohail Abbasi. Architect Jalal Ahmed, principal architect and managing director of JA Architects, is widely known for his insightful approach to contextual and sustainable architecture. He delivered a compelling presentation titled “Between Regionalism and Resilience”. In his speech, he explored the unique cultural and environmental context of the Bengal delta, emphasizing the intertwined relationship between land, water, and people. He addressed the challenges posed by climate change, highlighting how Bangladesh’s journey toward sustainability and economic viability is intricately linked to its resilience against environmental threats. A key theme of his presentation was the rich brick-building tradition of the Bengal delta, evident in historic sites such as Mahasthan Garh, Paharpur Monastery and Temple, and the Khantanagar Temple—traditions that later inspired modern architectural expressions like the Sher-e-Bangla Nagar Complex. Architect Ahmed also revisited the legacy of the Chetana Study Group, a pioneering collective founded in the early 1980s by the late architect Muzharul Islam alongside prominent architects and creatives. This group championed humanitarian design, green architecture, and climate-responsive projects such as Banchte Shekha in Jashore, the Training & Resource Center (TARC) in Faridpur, and Bogura. His dedication to resilience is further exemplified by his involvement in critical projects such as the reconstruction efforts in the Karail and Saattola slums in 2016, the design of a Cyclone-Resilient Prototype House in Sathkhira, and several community-centric initiatives including Uria in Sreepur, Pashchim Belker Char, Charitabari, and the Community School in Paschim Belkar Char, Gaibandha. Over the past decade, Jalal Ahmed’s firm, J.A. Architects, has advanced sustainable industrial and educational architecture, designing several LEED Gold–certified garment factories and contributing to the BRAC University Campus with WOHA Architects through climate-responsive tropical design. Through his reflections on the Bengal delta and his body of work, Jalal Ahmed demonstrated how architecture can bridge tradition and innovation while responding to the realities of climate change. The conference segment of IAPEX 2026 featured a lineup of speakers including celebrated Ar. Kamil Khan Mumtaz, Ar. Dr. Yasmeen Lari, Prof. Dr. Anila Naeem, Architect Farida Ghaffar, Ar. Mohammad Saifullah Siddiqui, Ar. Golnaz Bahrammi, Ar. Fateme Rezaei, Ar. Tanya Karim, Ar. Tariq Alexander Qaiser, and climate activist Masood Lohar, all of whom shared valuable insights on key issues such as sustainable practices, heritage conservation, climate-responsive design, and innovations in building materials. Written By Tasmiah Chowdhury
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Mir Ceramic Launches Premium Tiles Brand CLIO in Bangladesh
Mir Ceramic Limited has entered a new phase in Bangladesh’s ceramic industry with the launch of its premium tiles brand, CLIO, positioning it as a symbol of sophistication and modern living. Guided by decades of trust and the philosophy “Be with the Best,” CLIO debuts with the tagline “The Ceramic of Modern Living.” The brand was officially launched at a grand ceremony held at the Pan Pacific Sonargaon Hotel in Dhaka, on the evening of Saturday, January 31. The event was graced by the presence of Mir Ceramic Limited’s Honorable Managing Director, Mr. Mir Nasir Hossain; Deputy Managing Director, Mr. Ruslan Nasir; Director, Ms. Mahreen Nasir; and Executive Director, Mr. Md. Anisur Rahman. The chief guest of the program was Md. Khalequezzaman Choudhury, Chief Engineer of the Public Works Department (PWD), and a Fellow Member of the Institution of Engineers, Bangladesh (FIEB). The Special Guests included Emeritus Professor Dr. M. Shamim Z. Bosunia and Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA) President Mr. Moynul Islam, Md. Asifur Rahman Bhuiyan, Chief Architect, Department of Architecture, Bangladesh. According to Mir Ceramic Limited, CLIO aims to redefine conventional concepts of interior design by offering timeless, contemporary tile solutions that reflect creativity and confidence in modern lifestyles. As a special attraction of the evening, the official unveiling of CLIO – including its logo and products-was carried out through a laser show. The program concluded with a musical performance by popular singer Dilshad Nahar Kona. With the launch of CLIO, Mir Ceramic Limited reaffirmed its commitment to delivering innovative, aesthetically refined, and globally inspired ceramic solutions to Bangladeshi consumers. Source: Mir Ceramics
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Architectural Thought in the Context of Climate and Memory: Kashef Chowdhury’s Exceptional Monograph Unveiled
In a gathering that underscored the intersection of environmental challenges and innovative design, acclaimed Bangladeshi architect Kashef Mahboob Chowdhury, recipient of the prestigious Aga Khan Award, presented insights into his career during the debut of his monograph, Meditations in Entropy: The Work of Kashef Chowdhury / URBANA. The event, hosted by Archiconnect, took place on the evening of Saturday, January 31, at the Crowne Plaza Ballroom in Dhaka. Kashef Chowdhury, whose firm URBANA has garnered international recognition, used the platform to delve into the evolution of his professional journey spanning almost three decades. He articulated how his designs are profoundly influenced by the demands of ecological fragility and societal obligations, particularly in a context like Bangladesh, where environmental factors play a pivotal role. Emphasizing that effective architecture transcends mere visual appeal or structural elements, he advocated for solutions that thoughtfully address climatic stresses, the endurance of communities, and the unique characteristics of specific locales. Describing the monograph’s purpose, Chowdhury explained that it serves as an examination of developmental journeys rather than a mere showcase of completed structures. He elaborated on the foundational principles driving the book’s creation, rooted in principles of moderation, situational awareness, and compassionate engagement with surroundings. Issued by the esteemed Swiss publisher Park Books based in Zurich, this publication represents the inaugural in-depth compilation of Chowdhury’s contributions. Spanning over 500 pages, it chronicles three decades of his endeavours via an array of sketches, technical illustrations, captured images, and introspective narratives. The volume spotlights 18 completed undertakings encompassing a wide range of building categories, enriched by visuals from celebrated architectural photographer Hélène Binet. It also incorporates analytical contributions from distinguished scholars, including Kenneth Frampton, William J. R. Curtis, Robert McCarter, Ainun Nishat, and Philip Ursprung. The ceremony drew notable dignitaries, with Professor C R Abrar, Honorable Advisor to the Ministry of Education, presiding as the chief guest. The event was further honoured by the presence of His Excellency Mr. Reto Renggli, Ambassador of Switzerland to Bangladesh, who attended as Guest of Honour. In his remarks, Professor Abrar highlighted the value of design philosophies firmly anchored in societal and ecological contexts, praising Chowdhury’s portfolio as an exemplary model of adapting to the pressing issues posed by global warming and rapid urban expansion. Additional perspectives were offered by a panel of esteemed speakers: Dr. Ainun Nishat, an authority on environmental shifts and hydrological management; Professor Shamsul Wares, a respected figure in both architectural practice and education; and Dr. Abu Sayeed M Ahmed, who leads the Institute of Architects Bangladesh. Their contributions focused on the monograph’s role as an essential reference that integrates Bangladeshi architectural innovations into broader international conversations, all while staying true to indigenous conditions. The event was attended by a diverse audience comprising leading professionals in architecture, educators, urban planners, emerging students, influential personalities from the arts, and journalists. This convergence not only celebrated the release but also signified a pivotal advancement in the ongoing dialogue surrounding modern architecture within Bangladesh, fostering deeper appreciation for designs that harmonize with both human needs and natural imperatives. Written By Anonno Aziz Nibir
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Parallels Opened Doors to New Architectural Conversations
Parallels, a group exhibition by eight architectural practices, concluded on a positive note, drawing strong visitor engagement and thoughtful conversations throughout its run. Conceived as a platform for inquiry and dialogue rather than definitive answers, the exhibition encouraged reflection on architecture’s broader cultural and social role. The exhibition was held from January 24 to January 29 at Aloki in the capital. Curated by architects Mahmudul Anwar Riyaad and Emran Hossain, the exhibition was structured like a book of short stories told through spatial form, material explorations, conceptual installations, and three-dimensional works. Ar. Riyaad and Ar. Hossain delivered the opening remarks, while Ar. Prof. Shamsul Wares gave the keynote address, followed by an insightful presentation by Associate Professor of Architecture at the University of Kansas Farhan S. Karim, on the inaugural day. Prof. Wares noted: “Parallels means two lines that stay side by side but never meet. Here, the eight practices speak in eight different ways, yet they do not remain separate—neither exclusive nor inclusive. They are parallel. It is a beautiful expression of modern society, where everyone moves together while retaining individuality and independent opinions.” Ar. Riyaad shared that while collaborating with the eight architectural practices for the exhibition, he saw all the practices draw inspiration from each other’s work and mutually enrich one another. They even assist each other in times of need, which is rare in this field, and maintain a relationship marked by healthy competition. Ar. Hossain stated that the exhibition may mark the beginning of a new journey—one that opens space to discuss global issues, cultural transformation, and modes of cultural engagement. He added that the exhibition offers a platform for architectural discourse. Among the eight participating architectural practices: Jubair Hasan Architects presented A Room Without Walls—an immersive installation exploring how space can create a quiet moment for reflection within a public environment, allowing people to find individual solitude while still being part of a shared setting. Kazi Fida Architects presented Reading Between Time and Spaces—an installation composed of multiple, overlapping layers capturing environmental forces, human activity, and architectural form. Projections across these layers reveal how space emerges through the interaction of structure, environment, and lived experience. FORM.3 Architects presented আবর্তনঃ Memory Loop. This installation explores the invisible continuity of time, memory, and space, drawing its conceptual and representational language from the project Conservation and Redevelopment of Old Dhaka Central Jail. It reveals how past moments persist beyond their physical existence, resonating as subtle reverberations within human experience. Group of Architects and Thinkers presented Time Seen from a Moving Self. Expressing the philosophy of “Design Justice,” the installation features a Banyan tree standing on layers of earthen pots. These clay pots symbolize early built forms that accumulate and grow over time, suggesting that architecture is resilient, inclusive, and deeply rooted in its environment while continuing to evolve. Saiqa Iqbal Meghna/Suvro Sovon Chowdhury presented The Unbearable Lightness of Being. The title, drawn from Milan Kundera’s seminal work, is reinterpreted here as a condition rather than a literary reference. The installation captures moments of threshold—between night and day, holding and release, life and death—where the ordinary world falls silent. Cubeinside presented The Quiet Presence of Absence—an installation where vertical lines symbolize blurred thoughts in design, gradually forming spatial clarity. These translucent lines gather around a central void, transforming absence into a vessel of experience. The porous enclosure balances openness and enclosure, guiding visitors through abstract exhibits derived from Cubeinside projects. Dehsar Works presented The Red Elephant, inspired by the ancient parable of the blind men and the elephant. The installation reflects the idea that design gains meaning through multiple perspectives and collaboration. The large sculptural elephant is crafted with shelves and display niches containing reference elements from local artifacts, miniature building models, sketches, materials, and inspirational objects. Roofliners Studio of Architecture presented Confluence. Architecture often begins as an individual initiative—a thought, an idea taking shape in the mind—but the journey always demands convergence. It is never “I” but rather “We” who work together. Roofliners embodies confluence, where ideas and efforts merge, sketches meet stories, and “We” becomes the foundation. The six-day exhibition featured talks by the participating practices, complemented by distinguished architects including Ar. Ahmed Khalil, Ar. Salauddin Ahmed, Ar. Ehsan Khan, and Ar. Mamnoon Murshed Chowdhury. The closing day concluded with a conversation led by Ar. Kashef Chowdhury, followed by a roundtable discussion with Ar. Luva Nahid Choudhury, Artist Sabyasachi Hazra, Artist Bishwajit Goswami, and Artist Tanzim Wahab. The session was moderated by Associate Prof. Farhan S. Karim and Ar. Emran Hossain, bringing Parallels to a reflective and intellectually engaging close. Written By Tasmiah Chowdhury
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Winter edition of Dhaka International Yarn & Fabric Show begins tomorrow
The stage is all set for the 25th Dhaka International Yarn & Fabric Show 2026 – Winter Edition, which will be held from January 28 to 31, 2026, at the International Convention City Bashundhara (ICCB). The exhibition marks the 25th anniversary of Bangladesh’s longest-running B2B yarn and fabric sourcing platform, and it will be organised by CEMS-Global USA in association with the China Council for the Promotion of International Trade (CCPIT-TEX). As part of CEMS-Global USA’s textile series of exhibitions held across three continents, the Dhaka International Yarn & Fabric Show is regarded as one of the most established platforms for textile manufacturers and suppliers. The event will feature yarns, fabrics, denim, accessories, trims, and textile technologies, bringing together global manufacturers, suppliers, and buyers. Organisers said the event is positioned as a key sourcing platform for Bangladesh’s textile and apparel industry, which is valued at more than $47 billion and has established the country as the world’s second-largest apparel exporter. Exhibitors from multiple countries will present new innovations and sourcing opportunities, with a focus on advanced yarn technologies, sustainable fabric solutions, and textile machinery, according to the website of the showcase. The exhibition will provide opportunities for business networking, technology transfer, and market expansion, while reinforcing Bangladesh’s role as a growing global textile hub. Visitors will be able to explore functional fabrics, natural fibres, denim, embroidery, artificial leather, and home textiles. The show is designed to connect international suppliers with local manufacturers and exporters, encouraging collaboration and strengthening Bangladesh’s competitiveness in global markets. The exhibition will run daily from 10:00 am to 7:00 pm at the International Convention City Bashundhara (ICCB), with registration required for entry. Industry representatives said the show comes at a time when Bangladesh’s textile sector is expanding rapidly and diversifying into new product categories to meet global demand. The 25th edition also coincides with the 8th Denim Bangladesh exhibition, which will highlight developments in denim and casual wear. Together, the two events will cover the full spectrum of textile sourcing and production, offering buyers and suppliers a comprehensive view of Bangladesh’s capabilities. Organisers emphasized that the show’s 25-year legacy demonstrates its importance to the industry and its role in supporting Bangladesh’s rise as a major textile and apparel exporter. They said the 2026 edition will continue to strengthen Dhaka’s position as a centre for textile trade and innovation in South Asia. Written By Nibir Ayaan
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Dhaka to host 18th Bangladesh International Plastics, Printing and Packaging Industry Fair
The 18th Bangladesh International Plastics, Printing and Packaging Industry Fair (IPF-26) will take place from January 28 to 31, 2026, at the International Convention City Bashundhara (ICCB) in Dhaka. The event is jointly organised by the Bangladesh Plastic Goods Manufacturers & Exporters Association (BPGMEA) and Yorkers Trade & Marketing Service Co., Ltd., with show management by Chan Chao International Co., Ltd. The fair will feature 400 exhibitors across 800 booths, representing over 18 countries and regions. Exhibitors will occupy 18,000 square metres of space, making it one of the largest industrial gatherings in Bangladesh. Countries participating include Austria, China, India, Indonesia, Italy, Malaysia, Mexico, Pakistan, Saudi Arabia, Singapore, South Korea, Taiwan, Thailand, Turkey, the United Arab Emirates, the United States, Vietnam, and Bangladesh. IPF Bangladesh 2026 presents a full value-chain showcase covering core production technologies, materials, and downstream applications, enabling visitors to evaluate complete manufacturing solutions in one venue. Organisers said the focus is on demonstrating how plastics can support sustainable farming practices and help address climate and food security challenges. Bangladesh’s plastic industry is valued at $2.99 billion and is expanding at an annual growth rate of more than 20 percent. Export earnings reached $2.2 billion, reflecting the sector’s growing role in the national economy. To support this momentum, the commerce ministry has declared paper and packaging as the “Product of the Year 2026”. The ministry has also introduced development policies, skills training programs, and seminars to strengthen the “Made in Bangladesh” brand and improve competitiveness in global markets. The exhibition will cover several industry segments, including plastics processing machinery, printing and packaging machinery, raw materials, recycling and reprocessing technologies, and finished packaging products. Industry stakeholders said the fair comes at a crucial time, as Bangladesh seeks to expand its industrial base and integrate more deeply into global supply chains. The event is expected to attract buyers, suppliers, and innovators from multiple regions, reinforcing Dhaka’s role as a hub for industrial innovation. Organisers emphasized that IPF-26 will not only showcase machinery and materials but also highlight the industry’s contribution to agriculture and sustainability. With participation from 18 countries and strong government backing, the fair is positioned as a key platform for advancing Bangladesh’s plastics and packaging sector. The 18th Bangladesh International Plastic, Printing and Packaging Industrial Fair will run for four days at ICCB, bringing together international exhibitors, local manufacturers, and policymakers to discuss and display innovations shaping the future of plastics and packaging in Bangladesh. Visiting hours are set from 11:00 am to 7:00 pm, with the final day closing at 6:30 pm. Regulations specify that visitors under 16 years of age will not be permitted. Written by Nibir Ayaan
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Artists Revisit Rokeya’s Vision in ‘Reimagining Sultana’s Dream’
More than a century has passed after the legendary Begum Rokeya Sakhawat Hossain penned her iconic Sultana’s Dream (1905). To mark the 120th anniversary of the book—and its recognition in UNESCO’s Memory of the World (Asia-Pacific) register—the Liberation War Museum in Dhaka has launched Reimagining Sultana’s Dream, a group exhibition featuring works by twenty artists. The exhibition, neatly curated by Sharmille Rahman, is jointly organized by the Liberation War Museum and Kalakendra with support from Libraries Without Borders and Alliance Française de Dhaka and runs at the museum’s sixth-floor temporary gallery until March 7. Rokeya’s original narrative imagined a world where women govern society through reason, care, and scientific ingenuity, while men remain confined to domestic seclusion. The satire was sharp, the politics unmistakable: power, she argued, is not inherently masculine; it is merely monopolized. Yet, as visitors move through this exhibition’s sprawling installations, photographs, textiles, videos, and conceptual works, one realizes that the distance between Rokeya’s dream and contemporary reality remains narrower than it should be—and far more troubling than we might like to admit. The exhibition’s strength lies in its multiplicity of voices, and together, the artworks blur the boundary between literary homage and contemporary social critique. The artists visualized women’s invisible labor, persistent structural discrimination, and the resilience forged through everyday struggle. Many installations dwell on domesticity, wage inequality, bodily autonomy, and the silent endurance that sustains both households and economies. They do not romanticize womanhood; instead, they interrogate how patriarchy shapes aspiration, opportunity, and even imagination. For example, a striking, suspended photographic installation that features suspended images of men, where words such as “violence,” “wages,” “women’s labor,” and “possibility” are inscribed on their bodies. The images hang from the ceiling like a suspended interrogation. Are all these accusations aimed at men, women, or society at large? The artist framed the artwork as a question: “Perhaps you are the hunter, or the hunted.” This ambiguity implicates the audience to confront their position within systems of power. Another installation draws on Chakma weaving traditions—offering a reminder that alternative models of gender coexistence have long existed within South Asia’s indigenous cultures. The artwork gently counters the assumption that patriarchy is universal and immutable, proposing instead that social arrangements are historical choices—capable of being rewritten. Nearby, another artwork evokes the emotional terrain of women whose dreams remain pressed beneath social expectation, while another artwork centers working-class women, pairing video art with written testimonies that echo fatigue, hope, and perseverance. Rather than presenting women as abstract symbols, the piece insists on specificity—on listening closely to lived experience. Similarly, another installation uses repetition of sound to halt the visitor mid-step, demanding attention to voices often ignored. Collectively, all the artworks from the 20 artists reveal a paradox. While Sultana’s Dream envisioned a radical overturning of patriarchal norms, today’s artists find themselves still grappling with remarkably similar realities. The exhibition suggests that Rokeya’s satire was not merely ahead of its time—it remains unfinished business. But the show does more than just honor the feminist legacy; it questions its limits. Can art about women’s struggle transcend gallery walls and urban cultural circles? Or does it risk becoming another enclosed space where pain is aestheticized rather than transformed? In this exhibition, women’s voices, bodies, protests, and questions take on material form—etched in fabric, projected on walls, suspended in midair; it does not offer easy resolutions; instead, it insists that Rokeya’s dream must be reread, revised, and challenged continuously as an evolving dialogue. Ultimately, the exhibition reminds us that Begum Rokeya’s feminist utopia is not a destination but a process—one that requires vigilance, critique, and collective imagination. She dreamed of a world liberated from gendered injustice. So the exhibition asks a harder, more urgent question: are we any closer to living in it? Written by Shahbaz Nahian
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Unseen Works of Kibria at Kalakendra
The lesser-known dimension of the late eminent artist Mohammad Kibria comes into view through a solo exhibition titled ‘An Artist’s Compilation: 84 Unseen Original Works (1980–2006)’, currently on display at Kalakendra, Dhaka. The exhibition presents 84 small-format works on paper, many of which are being exhibited publicly for the first time. Supported by City Bank, the exhibition is organized jointly by Kalakendra and the artist’s family to mark what would have been his 97th birth anniversary. The works in the exhibition are drawn from a handbound folio that Kibria himself compiled over more than two decades, suggesting a private archive shaped with care, discipline, and a quiet sense of purpose. What distinguishes this exhibition is the revelation of a more introspective Kibria. These pieces operate on an intimate scale. Most are created on letter-sized paper using pencils, pens, watercolors, pastels, etching, oil, mixed media, and collage. Printed paper fragments, clipped magazine pages, textured layers, and restrained color interventions are prevalent throughout. Several collages are composed of dark grounds—black, brown, or grey—onto which textured scraps and subtle tonal shifts have been assembled. In some places, small dabs of color punctuate the surface, while elsewhere, delicate linear gestures hover like afterthoughts. All these smaller-scale artworks emphasize restraint, nuance, and philosophical calm. Several compositions also evoke an archaeological sensibility—surfaces that appear weathered by time, such as fragments of ancient walls, corroded metal plates, or fading manuscripts. One particularly striking piece features a golden, matte texture that recalls eroded plaster, while another one features sharp white marks against a deep black field, resembling streaks of light piercing the darkness. Furthermore, the absence of individual titles reinforces the sense that these works were never meant to be spectacles. Instead, they function like notes, meditations, or private experiments—records of sustained inquiry rather than declarations intended for the market or gallery wall. Kibria himself selected and arranged these 84 works into a folio, binding them by hand and designing the cover. It remains unclear whether he intended to collect it for a future exhibition or publication. However, the artist’s particular focus on form, sequencing, and preservation is evident. Beyond the artworks themselves, the folio also contains personal materials—letters, exhibition catalogues, photographs, and even a drawing gifted by fellow artist, another legend, Kamrul Hassan. Also on view is a letter appointing Kibria as an emeritus professor at the University of Dhaka in 2008. Together, these artifacts frame the folio as a time capsule that traces both artistic evolution and lived history. Born on January 1st, 1929, in Birbhum (now in West Bengal, India), Mohammad Kibria graduated from the Calcutta Art College in 1950 before moving to Dhaka. He then joined the newly established Dhaka Art College in 1954. Later pursued advanced studies in Japan from 1959 to 1962 on a government-sponsored scholarship. Over the decades, he established himself as a master printmaker, painter, and educator, retiring from the Institute of Fine Arts at the University of Dhaka in 1987. He received major national honors, including the Ekushey Padak and the Independence Award, and remained a revered figure until his death on June 7, 2011. At a time when Kibria’s works have become increasingly scarce in public galleries, many now residing in private collections, this exhibition offers a rare opportunity to encounter a less visible chapter of his artistic journey. It reframes him as both a monumental modernist and a quiet chronicler of time, texture, and thought. In the midst of Dhaka’s urban intensity, Kibria’s folio opens a slower, more meditative world—one in which paper, pigment, and memory converse in subdued tones. The exhibition does not merely commemorate an artist’s legacy; it expands it, revealing a body of work that is at once archival, philosophical, and strikingly alive. The exhibition will run until February 2nd, 2026, open daily from 4 pm to 8 pm, with support from City Bank. Written by Shahbaz Nahian
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Chobi Mela returns, makes Dhaka a gallery
Chobi Mela returns in full swing on January 16, 2026, following its last edition—Shunno (Zero), held in 2021. When it comes to themes, Chobi Mela has a way of reintroducing words like no other. This year’s theme is ‘Re’—a powerful prefix representing Re-repetition, Re-build, and Re-imagine. As the chief adviser of the festival, Shahidul Alam, described it, the festival is more than an exhibition; it is a movement, a resistance, and an awakening. The 11th edition features 58 artists from 18 countries across five continents. Representing the Global Majority, this year’s festival is led by Artistic Directors Munem Wasif and Sarker Protick, alongside guest curators Tanvi Mishra, Shohrab Jahan, and Yasmine Eid-Sabbagh, all under the guidance of Festival Director ASM Rezaur Rahman. Under the theme ‘Re,’ Chobi Mela reconnects artists from lands shaped by loss and erasure. In the aftermath of the July 2024 student-led uprisings, the festival uses photography to reflect on rebuilding—holding stories from the Nile to Palestine across Dhaka’s walls. Beyond the diverse photography exhibitions, the festival also features a rich program of panel discussions and artist talks led by international photographers, architects, and visual storytellers, The history of Chobi Mela goes back to 2000, when photographer and activist Shahidul Alam noticed a problem: most famous photos of places like Bangladesh were taken by westerners who portrayed either poverty or disaster. He wanted to flip the script. He didn’t just want a gallery; he wanted a ‘Mela’—a festival for the people where local photographers would hold the camera and tell their own truths. Ever since, it has run smoothly, maintaining an equal following both at home and abroad. At the inauguration event, Adviser for the Ministry of Cultural Affairs, Mostofa Sarwar Farooki, highlighted that photography is finally gaining the institutional respect it deserves. He informed the audience that a new ordinance will expand the Bangladesh Shilpakala Academy and establish the nation’s first independent photography department. In an era where fabricated truths can go viral and be widely believed, such festivals shed light on real stories, ensuring the ‘grey matter’—the nuance and complexity of truth remain prominent for the audience. This 16-day festival is being held across five major venues in Dhaka: the Bangladesh National Museum, Bangladesh Shilpakala Academy, Alliance Française de Dhaka, DrikPath Bhaban, and the South Plaza of the National Parliament. The event will run till January 31. If you are in Dhaka, make sure to check out this exhibition before it closes—otherwise, you have to wait another four years for its return. Written by: Fariha Hossain
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‘Parallels’ by 8 Architectural Practices Begins Jan 24
Parallels, a group exhibition featuring eight architectural practices, is scheduled to begin at Aloki in the capital on January 24. The exhibition, which will continue until January 29, will reflect on architecture, urban density, and the lived realities of contemporary Dhaka, offering a nuanced reading of the city and its evolving built environment. Curated by architects Mahmudul Anwar Riyaad and Emran Hossain, the exhibition brings together: Jubair Hasan Architects, Kazi Fida Architects, Form.3 Architects, Group of Architects and Thinkers, Saiqa Iqbal Meghna/Suvro Sovon Chowdhury, Cubeinside, Dehsar Works, and Roofliners Studio of Architecture. Jubair Hasan Architects (JHA), founded in 2010, is grounded in a belief in context, climate, and culture, while consciously avoiding preconceived assumptions. Kazi Fida Architects stands as a dynamic collective of architects, engineers, and project coordinators, united by a shared mission to reshape how people experience the built environment. Form.3 Architects began its journey in 2010, striving to change societal attitudes toward architecture while relentlessly seeking to build a solid foundation for young professionals. Group of Architects and Thinkers (GOAAT) is a multidisciplinary architecture and design practice comprising architects, engineers, nature enthusiasts, conservationists, ornithologists, and craftsmen who believe in integrating nature rather than segregating it. Architects Saiqa Iqbal Meghna and Suvro Sovon Chowdhury work collaboratively across residential, institutional, and civic projects, with a strong emphasis on local materials, craftsmanship, and social relevance.” Cubeinside, since its emergence in 2009, has followed a stringent path of innovation and creativity, amalgamating bespoke design elements while keeping project requirements in check with available resources. Dehsar Works is a team of young architects, designers, and thinkers operating within the fields of architecture, urbanism, research, and communication design. Roofliners Studio of Architecture, founded in 2012, has been working on projects of varying scale and typology, with a keen interest in the contextual backdrop of each one. The inauguration programme, to be held on January 24, will feature introductory remarks by Prof. Shamsul Wares, Architect Mahmudul Anwar Riyaad, and Architect Emran Hossain, followed by a conversation between Architect Kashef Chowdhury and the participating architectural practices. Over six days, the exhibition will host lectures by distinguished architects and artists, roundtable discussions, and talks by the participating architectural firms, providing deeper insights into their creative processes and design philosophies. Written by Tasmiah Chowdhury
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30th Dhaka International Trade Fair Celebrates Trade, Innovation and Culture
The 30th edition of the Dhaka International Trade Fair (DITF) 2026 is underway at the China-Bangladesh Friendship Exhibition Center (CBFEC) in Purbachal on the outskirts of Dhaka. Commerce Adviser Sk Bashir Uddin inaugurated the month-long event on January 3. Originally scheduled to open on January 1, the inauguration was deferred to January 3 following the government’s declaration of three days of national mourning over the death of Khaleda Zia, former prime minister and chairperson of Bangladesh Nationalist Party. The fair has been jointly organized by the Ministry of Commerce and the Export Promotion Bureau (EPB). This year, a total of 324 pavilions, stalls, and restaurants have been allocated to local producer-exporter organisations, business establishments and foreign companies. Alongside Bangladeshi firms, 11 companies from six countries — India, Turkey, Singapore, Indonesia, Hong Kong and Malaysia— are participating in the fair. A wide range of products are being displayed at the fair, including local textiles, machinery, carpets, cosmetics and beauty aids, electrical and electronics goods, furniture, jute and jute products, household items, leather and artificial leather goods and footwear, sports goods, sanitaryware, toys, stationery, crockery, plastic items, melamine polymers, herbal and toiletry products, imitation jewellery, processed food, fast food, handicrafts, home décor and more. However, ticket prices are set at Tk 50 for adults and Tk 25 for children under 12. Freedom fighters, persons with disabilities, and those injured in the July movement are allowed free entry upon showing valid identification cards. The fair remains open daily from 9:55 am to 9:50 pm, and until 10:00 pm on weekly holidays. To ensure smooth transportation for visitors, more than 200 dedicated BRTC shuttle buses are operating daily from Kuril Bishwaroad, Farmgate (Khejur Bagan/Khamarbari), Narayanganj, and Narsingdi, starting from 8:00 am. The last shuttle bus from the fairground departs at 11:00 pm. Written By Rafikul Islam
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AkijBashir Group Signs Strategic MoU with Envisio Group
AkijBashir Group and Envisio Group have signed a significant Memorandum of Understanding (MoU), marking the beginning of a strategic collaboration aimed at expanding the reach of AkijBashir’s premium product portfolio. The MoU was signed on January 18th, 2026 by Mohammod Khourshed Alam, Chief Operating Officer of AkijBashir Group, and K M Sumon, Managing Director of Envisio Group, in the presence of senior officials from both organizations. Under the terms of the Memorandum of Understanding (MoU), Envisio Group will feature AkijBashir’s leading brands—Akij Ceramics, ROSA Sanitaryware & Bathware, Akij Board, Akij Door, and Akij Glass—offering customers a complete solution for tiles, sanitaryware, bathware, boards, doors, and glass products. Both companies will collaborate on marketing initiatives and leverage each other’s brand presence to reach new customers, strengthening both companies’ positions in the competitive building materials sector. Mr. Khourshed Alam expressed, “This collaboration aligns with our goal to deliver world-class building materials and enrich modern living experiences for our customers across Bangladesh, while reinforcing our commitment to innovation and excellence.” Alhaj Md. Mazharul Islam, Chairman of Envisio Group, added, “This collaboration with AkijBashir Group allows us to provide our customers with an even broader selection of top-tier products, enriching their living spaces with quality and sophistication.” Notable attendees from the AkijBashir Group included Mohammed Ashraful Haque, Head of Sales at Akij Ceramics, Bishwajit Paul, Head of Sales at ROSA Sanitaryware, and Abduhu Sufi, Head of Sales at AkijBashir Glass, along with other senior team members from both organizations, who were also present to witness the signing. The alliance marks a new chapter for both organizations, united in their pursuit to shape elegant, sustainable, and inspiring spaces—Beyond Tomorrow.
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23rd Garment Technology Bangladesh 2026 begins in Dhaka on Jan 14
The International Convention City Bashundhara (ICCB) in Dhaka is preparing to host the 23rd edition of Garment Technology Bangladesh (GTB) from January 14 to 17 this year, bringing together thousands of professionals from the country’s readymade garment sector. The exhibition is regarded as the largest platform for garment machinery and technology in Bangladesh, showcasing innovations that define the future of apparel manufacturing. GTB has been held for 22 years and is widely seen as the preferred marketing platform for global technology providers to connect with Bangladesh’s apparel industry. Its mission is summed up in the phrase “Making Bangladesh RMG Future Ready,” aiming to bridge local manufacturers with international innovators. The exhibition highlights advancements in productivity, automation, product diversification and value addition, helping the country’s garment makers strengthen their role in the global fashion supply chain. The success of the exhibition was evident in the most recent edition, which set new benchmarks for participation and scale. The 2025 exhibition drew 18,422 business visitors over four days to a show area of more than 250,000 square feet. Attendance began with 4,192 on the first day, peaked at 5,095 on the second, hit 4,893 on the third, and closed with 4,242 on the final day. More than 300 exhibitors represented over 750 international brands, turning the venue into a marketplace of ideas and technology. The composition of visitors reflected the breadth of the industry: manufacturers accounted for 28 percent, exporters 35 percent, merchandisers 22 percent, while consultants and students each made up 5 percent. Their purposes were clear, with half attending to gather information, nearly a quarter to evaluate new technology, and almost one in five arriving with the intent to buy, according to the official data of the expo. Feedback showed that 71 percent felt the event met or exceeded expectations, while 19 percent said it could be improved, offering valuable insight for organisers. The exhibition floor mapped out the entire anatomy of a modern apparel factory. It began with CAD, CAM and CIM systems, moved through cutting, laying and spreading machinery, and showcased endless variations of sewing and embroidery technology. Spares and parts were displayed alongside finishing, fusing, pressing and packaging equipment, demonstrating how value is added at every stage before garments reach the global market. The event was not only a showcase of hardware but also a curated exhibition of solutions that enable Bangladesh’s RMG sector to grow and diversify. With the 2026 edition now set, industry leaders are looking ahead to another major gathering. The event is expected to reinforce Dhaka’s position as a hub for apparel innovation, offering a platform for collaboration and progress at a time when the global fashion industry continues to evolve. For Bangladesh, where the garment sector remains the backbone of the economy, GTB 2026 is more than an exhibition. It is a statement of ambition and a glimpse into the future of fashion, stitched together in Dhaka. Written by Nibir Ayaan
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Hands of a Hundred Thousand Stories
In a large workshop, the air carries the smell of moist clay and burnt oil. Before a single bone china plate reaches the station of Morium Begum or Kamrun Nahar, it has already gone through many steps. It has been shaped by machines, fired until it is as hard as stone, and covered in liquid transparent glaze. But in the final stage of its creation, the loud sounds of industry fade. The atmosphere becomes quiet and focused. Here, hands that know the journey from raw clay to finished vessel perform the most delicate work. These are the hands of artisans. They guide thin, fragile decals onto smooth ceramic surfaces. Each touch is important. Each movement is a blessing on products that will travel to dinner tables around the world. These hands belong to Morium Begum and Kamrun Nahar. They are senior workers, known as “Uchha Dakkhya”—high-skilled artisans. Their lives are deeply connected to this place. Morium has worked in the Export Decoration Department for 25 years. Kamrun has spent 22 years in Bone China Decoration. Their story is not about mass production. It is about careful, patient work and the building of a future. “I’ve been working here for 25 years,” says Morium. Her voice carries conviction. It is more than loyalty to a job. “It doesn’t even feel like we are at a job.” In Bangladesh, factory work is often temporary and difficult. Many workers move from one place to another, facing harsh conditions. So what makes this factory different? What unwritten promise has turned it into a home for these women for more than two decades? The answer is not only in the products they make. It is in the lives they have built through this work. A Day’s Work: The Rhythm of the Kiln In the wide world of ceramic manufacturing, the decoration department is special. It is where the object finds its soul. It is a major step before completion, the moment when a blank plate or cup becomes something unique. Morium and Kamrun are the guardians of this transformation. Their days follow a rhythm shaped by tens of thousands of hours of practice. The morning begins not with machines, but with quiet preparation. They clean their stations. They arrange their tools. They prepare the raw material: stacks of ceramic ware, called “oil” in factory language. Each piece is carefully wiped to make sure the surface is flawless. Then they turn to the decals. These are intricate designs printed on special paper. The paper is dipped in water. Slowly, the design loosens from its backing. It is ready to be transferred. This is the most delicate moment. They lift the fragile film of colour from the water and slide it onto the ceramic surface. The placement must be perfect. The design must flow with the curves of the cup or bowl. No machine can do this. Only memory, skill, and an artist’s eye guide them. Once the decal is in place, they use a simple rubber tool. With gentle strokes, they press out every tiny air bubble and drop of water. “The design is placed on the ware, and then a rubber tool is used to gently rub and set it,” Kamrun explains. Her hands mimic the motion. “After it’s fired, the design is permanent. It won’t even wash off.” The final firing, called Decoration Firing Kiln (oven), makes the design indelible. The decorated pieces go back into the furnace. The heat fuses the decal into the glaze. The process is technical, demanding, and repetitive. Yet the meaning of their work goes beyond mechanics. To understand why they have given their lives to this craft, one must look at the culture of the factory. More Than a Factory: A Foundation for Family For Morium and Kamrun, the factory has been the backdrop of their adult lives. They entered as young women. Over time, they became matriarchs. The culture of the workplace shaped them as much as the skills they learned. It is a culture built on respect. On the factory floor, there are no raised voices. No harsh commands. The sound is a low, cooperative murmur. This is very different from the verbal abuse that they hear is common in other industries. “We don’t speak to anyone harshly here,” Morium says. “We don’t even raise our voices.” This dignity is matched by flexibility. It allows them to be both workers and mothers. When their children had exams or when illness struck, they could take leave for 15 days, even a month. They did not fear losing their jobs. This security is rare. “It’s just like a government job,” Kamrun says. “We can take a month off if we need it. You won’t get that anywhere else.” Support is built into the system. There is a medical centre with doctors and nurses. There is a daycare for young children. But the strongest support comes from the community itself. The women call each other sisters. They share joys and sorrows. One story shows this bond clearly. At the wedding of a cook’s daughter, workers pooled money to help with expenses. The “chairman madam” attended the celebration. Management and staff stood together. In such moments, differences of religion or background disappear. They eat together. They work together. They share goals. This respect, flexibility, and community have created stability. It is the foundation on which Morium and Kamrun have built their lives. It is what allowed them to dream of something lasting for their children. From Artisans to Architects of the Future The true measure of their decades of labour is not in the countless plates and cups they have decorated. It is in the futures they are building. Their hands have shaped clay, but they have also shaped possibilities. Morium is now the sole provider for her family. Her husband, once a worker at
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SUNSHINE BRICKS: Champion of Green Construction
“It’s not about 10-hole bricks. It’s about a formula for a lifetime investment.” That is how Sakif Ariff Tabani, vice chairman of Mirpur Ceramics, Khadim Ceramics and Sunshine Bricks, describes the philosophy behind one of Bangladesh’s most ambitious ventures in the building materials sector. In a country where traditional red bricks have long dominated construction, Sunshine Bricks has emerged as a standout brand, reshaping expectations of durability, design, and sustainability. From Habiganj to the National Stage Sunshine Bricks was founded to revolutionise Bangladesh’s brick industry. Based in Habiganj, it serves growing demand for quality building materials nationwide. As part of the Mirpur Ceramics group, alongside Khadim Ceramics—both renowned for manufacturing excellence—the company was created to fill a market gap for ceramic bricks and blocks that combine durability with aesthetic appeal. “With a strong foundation in ceramics, Sunshine Bricks was launched to evolve into a leading brand in Bangladesh’s ceramic bricks and structural clay product industry,” said the vice chairman. Traditional red bricks offered strength but little else. Sunshine Bricks changed that by investing in advanced technology and automation, producing materials that enhance structures while meeting the highest standards of quality. “Over time, Sunshine has become a key player in domestic and international markets, offering sustainable, versatile products for diverse construction needs,” said Sakif Ariff Tabani. The “Wonder Blocks” Sunshine Bricks is not a traditional auto-bricks company using Chinese technology. It is not about producing 10-hole bricks. Instead, it is about creating products that deliver comfortable living conditions and cost savings in energy consumption. Certified for eco-friendly products, the company has positioned itself as a pioneer in sustainable building materials. Among its most celebrated innovations are ceramic clay blocks, branded as “Wonder Blocks”. “These blocks are ideal for high-rise buildings, offering eco-friendly and energy-saving solutions,” said Sakif Ariff Tabani. “Sunshine Bricks is also the first company in Bangladesh to produce facing bricks, coloured and textured bricks, and ceramic blocks—setting it apart from traditional manufacturers.” “The coloured and textured bricks offer architects and developers a wide variety of designs and colours, enabling visually striking facades for residential and commercial buildings,” he said. Produced using cutting-edge technology, these bricks ensure durability, weather resistance, and colour consistency. The ceramic blocks are designed for specific purposes such as soundproofing and lightweight building solutions. Their lightweight nature reduces the overall weight of a structure without compromising strength, while their sound-insulating properties make them ideal for noise-sensitive areas. “By introducing these products, Sunshine Bricks is addressing modern needs such as energy efficiency, noise control, and aesthetic value,” said the veteran entrepreneur. Technology at the Core Sustainability is embedded in Sunshine Bricks’ production process. The company employs state-of-the-art technology to minimise environmental impact while ensuring high-quality output. Its fully automated production line ensures precision and consistency, reducing waste and optimising resources. A key innovation is Tunnel Kiln Technology, which is far more energy-efficient than traditional kiln methods. Tunnel kilns use controlled heat distribution, allowing for consistent firing and better energy use. This reduces the carbon footprint while ensuring higher-quality bricks with fewer defects. Recycling processes are also integral. Water used in manufacturing is filtered and reused, minimising waste. Raw materials are sourced responsibly, and the company incorporates alternative, eco-friendly materials into production. Sustainability is not an afterthought but a guiding principle. The “Green Champion” Recognition The decision to invest in Tunnel Kiln Technology was driven by efficiency and environmental responsibility. Traditional vertical kilns are costly and environmentally damaging. Tunnel kilns, by contrast, allow for consistent production with less energy consumption and precise temperature control. The result is higher-quality bricks with fewer defects. The measurable gains have been significant. Energy consumption has reduced by about 30 percent, while emissions have decreased substantially. The use of alternative fuels in firing further lowers the carbon footprint. These achievements earned Sunshine Bricks the “Green Champion” title, validating its efforts. For Tabani, however, the recognition is more than an accolade—it is a reminder that sustainability in manufacturing is necessary for long-term success. Serving Diverse Markets Sunshine Bricks serves customers across domestic and international markets. Its primary clients include government entities and public sector projects, supplying materials for major initiatives such as the metro rail, railway infrastructure, and education sector developments. These large-scale projects demand durability, consistency, and high quality—hallmarks of Sunshine Bricks. The private sector is equally vital. Developers, architects, and homeowners rely on the company for solutions that are both functional and aesthetically pleasing. From luxury residences to commercial and mixed-use projects, Sunshine Bricks delivers products that meet diverse needs. Internationally, Sunshine Bricks has expanded into the Middle East and Singapore, where demand for innovative, high-quality materials is rising. By tailoring offerings to local codes and design preferences, Sunshine Bricks has ensured adaptability—key to its success across markets. A Legacy Since 1958 Sunshine Bricks is part of a proud legacy dating back to 1958, when Mirpur Ceramics first began producing bricks and building materials in Bangladesh. Over the decades, Mirpur Ceramics earned a strong reputation for quality, reliability, and innovation. That experience and commitment are deeply embedded in Sunshine Bricks today. Drawing on this rich history, Sunshine Bricks represents the modern evolution of Bangladesh’s brick and ceramics industry. Decades of expertise have been combined with advanced automation, eco-friendly technology, and modern design concepts to meet the growing demands of sustainable urban development. Leading the Transformation As Bangladesh urbanises, demand for sustainable, high-quality building materials is rising. Sunshine Bricks sees itself leading this transformation—driving the industry toward greener, smarter, and more design-oriented solutions. The company also seeks to expand internationally, showcasing Bangladeshi innovation through exports to the Middle East and Southeast Asia. With over six decades of experience, Sunshine Bricks is not just building structures—it is helping build a more sustainable and progressive Bangladesh. Redefining Building
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Architect Rashed and the Poetics of Practice
In the crowded clusters of Dhaka’s architectural offices—where every firm spoke in bold, predetermined tones—finding an original voice was never easy. For Architect Rashed Hassan Chowdhury, the journey began not with buildings, but with books and design experiments of all kinds. Encouraged by his elder brother to pursue architecture, he entered BUET carrying curiosity and a restless desire to make and learn. Even as a student, Rashed was never confined to one discipline. He moved fluidly between book design, graphic work, product design—anything that allowed imagination to unfold in tangible form. But the multiplicity of voices, the weight of tradition and pressure of trends, left him with a fundamental question: How does one discover one’s own architecture? Rashed’s answer, at least in the early years, was to do everything. His first role was as a researcher at BUET’s Green Architecture Cell, followed by a post as lecturer at the University of Asia Pacific. After office hours, he joined architects like Nahas Khalil, Marina Tabassum, and Mahmudul Anwar Riyaad on project-based work—each collaboration sharpening instincts and broadening vocabulary. And at night, in the chilekotha/attic of his brother’s office—with only a computer and printer—he began sketching the contours of his own practice. Sleep was rare, but happiness abundant. Eventually came the realization: energy without direction cannot sustain itself. “I was doing too much, but none of it was really going anywhere,” Rashed recalls. That reckoning pushed him to leave the safety of multiple jobs and commit to a singular vision. Out of that decision was born Dehsar Works—a multidisciplinary practice whose very name is simply the last-to-first spelling of “Rashed,” a gesture as honest and direct as the work it produces. Learning by Doing Dehsar Works is not merely an architecture office—it is a laboratory. For Rashed, design is not about formula but about process, about finding concept and clarity. “The design process excites me most. It still does, every single time,” he says. This philosophy is reflected in the kinds of projects he chooses and the way they evolve: adaptive reuse, experimentation with materials, finding beauty in imperfection, and above all, engaging with the everyday lives of users. The Blues Communications Office, a transformation of a warehouse into a bold new workspace, tested both his patience and creativity. The design called for a complex metal structure—one that contractors hesitated to take on. Instead of abandoning the idea, Rashed and his team decided to build it themselves. They formed a sister concern, aptly named Workshop, to execute the construction. Through trial, error, and persistence, they not only completed the project but also gained a wealth of knowledge about materials and making. Ajo Idea Space is perhaps the purest example of his ethos. Conceived as a café and gathering space, it was never meant to be a conventional air-conditioned box. Instead, it embraced openness, natural ventilation, and a certain looseness that invited people to linger. The pavilion-like structure, with its vaulted steel forms and porous screens, blurred the boundary between inside and outside. It embodied sustainability not as a checklist but as a lived experience: a place where people ate, conversed, and created in ways that felt organic. Another notable work is the Beximco Learning and Development Center, a lightweight, semi-circular hall framed with steel and clad in polycarbonate sheets. Here, the emphasis was on creating an affordable, sustainable, and flexible learning environment that could anticipate future uses. By designing with recyclability and climate responsiveness in mind, Rashed sought to redefine what corporate infrastructure could mean in Bangladesh. Similarly, the Artistry Marble & Granite Experience Center transformed an old warehouse into a gallery-like environment for natural stones. Rather than demolish and rebuild, the design preserved and reinterpreted the existing shell, reusing nearly half the materials. The result was a spatial narrative where light and texture interacted with surfaces, allowing visitors to experience stone not as a static product but as a dynamic material. Another iconic project of Rashed is Suvastu Rialto Tower, a contemporary commercial landmark in Dhanmondi. Developed by Suvastu Properties Ltd., the project embodies functionality, visibility, and refined contemporary design. Suvastu Rialto Tower is a 3-basement, ground plus 13-storey commercial building, developed on approximately 10 kathas of land. The vertical organization of the building efficiently accommodates parking, retail, and office functions, addressing both spatial optimization and urban density challenges. The architectural language of Suvastu Rialto Tower is distinctly modern, characterized by clean lines, transparency, and material contrast. The façade features a glass curtain wall system, combined with aluminium elements and contemporary detailing. The glass facades not only enhance the building’s aesthetic appeal but also maximizes daylight penetration, contributing to a pleasant and productive interior environment. A Philosophy of Effort Rashed is not shy about offering advice to the younger generation of architects. His words are sharp but encouraging: “Stop complaining and start enhancing your skills.” For him, the profession is not merely about constructing buildings but about learning by doing—whether in furniture, graphic design, or urban experiments. Bangladesh, in his eyes, is a land of vast opportunity, waiting for those willing to work with patience and integrity. “There is so much to do, but very few skilled people willing to put in the effort,” he says. The formal degree, while important, is not enough. Real growth, he believes, happens through curiosity, through the courage to try, to fail, and to learn. Toward a Different Future The story of Dehsar Works is, in many ways, the story of one architect’s relentless pursuit of authenticity. From a chilekotha room with a single computer to award-winning projects recognized internationally, the journey has been marked not just by structures built but by lessons learned. As Rashed continues to shape spaces that are adaptive, playful, and deeply contextual, he reminds us that architecture is less about monuments and more about moments: the
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The Art of Playful Design A Look Inside BRAC University’s Child-Centric Sanctuary
A new chapter in early childhood care begins with the opening of the second BRAC University Daycare Centre, located in the vibrant Badda Campus of BRAC University, Dhaka. This thoughtfully designed facility serves as a sanctuary for children up to eight years old, offering a nurturing environment that prioritizes safety and development. Designed by Dwm4 Intrends, with an enchanting lighting scheme from Miro Lighting, the daycare centre is a dynamic and imaginative world where play, learning, and exploration intertwine, creating a joyful space for the children. A Palette of Softness and Imagination The daycare’s core design philosophy is built on a foundation of softness and playfulness. The space is defined by a serene Scandinavian colour palette of pastel shades—soft pinks, blues, and greens—that create a calming and inviting atmosphere. This selection of soft hues was a conscious decision to create a tranquil environment where children feel secure and at ease. Central to the design, this concept is also considered in all edges and volumes and is evident in the custom-made modular furniture, which features rounded edges to prevent bruises and generously cushioned surfaces for comfort. Thoughtful Zoning for a Comfortable Experience The daycare’s layout is thoughtfully divided into two primary zones: public and private. The public zone serves as a welcoming entry point for parents, where mothers can drop off their kids, change their clothes, or feed them. This area features an ergonomically designed washroom with sinks and toilets at child-friendly heights. The private zone is the heart of the daycare. It features a common activity area for all kids—a dynamic space for interaction, play, and learning. Adjacent to this is a sound-insulated nap room, a peaceful sanctuary exclusively for toddlers. This segregated room ensures a quiet and restful environment for sleep, with secure storage above the beds for personal belongings. This approach prioritises the comfort of children while ensuring that parents experience a sense of security and peace of mind. Materials in Design That Engage and Inspire The interiors reflect a calm design approach that is both impressive and functional. The vinyl floors are a durable choice, providing a soft, child-friendly surface that is easy to maintain. The walls are adorned with CNC-cut plywood cutouts that form geometric origami-style animals, such as giraffes and kangaroos, adding a unique texture and depth to the space. A notable feature of interior design is the vertical rock-climbing wall made from panels with child-friendly grips. This equipment helps the young children develop strength through adventurous play and is designed for those aged 4.5 years and older. This interactive design maximises floor space for other activities while promoting physical activity and overall development. When integrating an indoor climbing wall into a playroom, the child’s developmental stages and sensory needs were well-considered to ensure a stimulating and safe environment. Architect Daniel Haque shares, “Children at this age have a lot of curiosity and love to learn from playful shapes, so several playful interactive elements were incorporated in the design.” Overhead, snowflakes on the ceiling and house-shaped shelves on the walls introduce a sense of whimsy and also serve as visual cues to guide children. For hands-on learning, a pair of yellow, popsicle-shaped whiteboards is placed strategically, offering a fun way for children to express their creativity and learn. The pencil-shaped steel columns and child-sized furniture are used throughout the space, including a specially designed sofa that draws inspiration from the iconic “La Mamma” piece near the entrance, scaled down to suit the proportions of young children. The “La Mamma” furniture concept, also known as “Big Mama” or “Donna,” refers to Gaetano Pesce’s Up armchair. This iconic piece, introduced in 1969, is characterised by its distinctive shape and was initially made of foam. The armchair’s design has become a symbol of design and feminism, and a modern design classic. Prioritising Safety in Every Detail Safety was the number one priority throughout the design process. Architect Daniel Haque emphasises, “Special consideration was taken to soften all the edges; there’s no sharp corner here. Every edge has been wrapped with fabric. All switches and sockets are also placed above children’s height so that they can’t access them.” The furniture, floor, and wall materials were all selected with durability and safety in mind, proving that a playful and beautiful design can be achieved without compromising on security. This vibrant daycare was effectively designed by the lead architectural team of Mamnoon M. Chowdhury, Mahmudul Anwar Riyaad, Daniel Haque, and Md. Arifur Rahman. They worked in close association with architects Hasib Rehan and Md. Raduan Ahmed, and the construction was executed by Ar. Arifuzzaman Khan, Engr. Md. Omor Faruque, and Engr. Md. Tareq Rana, to create a practical environment specifically designed to meet the needs of young children. Written By Samira Ahsan
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Nature Draped in Modern Elegance Story of BOHO Bangladesh
As we turn back towards nature and value the earth more than ever, are we equally ready to embrace green décor to adorn our spaces? Bangladesh has a rich tradition of ceramics, from glossy dinnerware to heritage terracotta. Yet when it comes to home décor, the exploration has often leaned on the familiar. Boho Bangladesh has taken on such a challenge with grace, weaving modern sensibilities into age-old elements of nature. Born by the sea in Cox’s Bazar, Boho Bangladesh grew from a vision to prove that sustainable living can be beautiful, versatile, and globally relevant. Their offerings span ceramics and pottery, organic and recycled textiles, home décor, and select limited-edition creations. To uncover the story of Boho Bangladesh—a brand redefining bespoke, eco-friendly home décor like never before, we sat down with its Chief Creative Officer and one of the co-founders, Poroma Shahrin, to trace their journey so far. Making of a green boutique lifestyle store: Partners in life and now in purpose, Poroma Shahrin and her better half ASM Asaduzzaman returned home, leaving their glorious career abroad, driven by a shared calling to nurture their roots. To them, BOHO was conceived from a desire to empower the raw, untapped resources of Bangladesh. They recognised that their nation’s rich, fertile land was capable of cultivating materials the world is now valuing more than ever. “The idea behind the brand was to reimagine heritage in its newest form—implementing innovation in ways that inspire young minds to engage with raw, natural materials that are often undervalued. While there are already a few pioneering brands in this field, I find their approach often lacks innovation. Synthetic products may look attractive at first, but they’re not sustainable. Our goal is to prove that natural, eco-friendly design can be just as appealing—when crafted with creativity and vision.” quotes Poroma Shahrin. With a display centre at The Muslin, Le Meridien Dhaka, Boho Bangladesh has been operating online since its inception. When asked about their online journey so far, Poroma said— “Our online presence has played a pivotal role in understanding people’s preferences, connecting with consumers, and navigating the kind of design direction they are drawn to. Although we believe Boho’s true spirit thrives in physical spaces. That’s why we’re launching a Dhaka studio store—envisioned not just as retail, but as a creative community for artisans and innovators. We’ve only executed about 30% of our vision, with much more planned.” Bespoke Green Décor: Is the Market Ready? “My husband and I often wondered if the Bangladeshi market was ready to embrace Boho Bangladesh’s vision. Most people in our country get influenced by a lot of factors in making their choices of lifestyle. The truth is, it’s still an emerging industry, but it’s evolving. People are gradually becoming more appreciative of sustainable décor, though greater education and awareness are still needed. Encouragingly, we’ve received strong validation from creative professionals—especially architects, artists, and interior designers—who truly recognize the value of our work,” said Poroma. Balancing Purpose and Profit: The team notes the irony that natural raw materials are currently the costliest, making it difficult to balance purpose with profit. They plan to address this with the launch of their studio store, which is designed to boost business sustainability and unlock new growth avenues. Furthermore, Boho Bangladesh is continuously refining production techniques to ensure product durability and reduce maintenance needs. This commitment not only minimises the risk of erosion but also guarantees customers high-quality, long-lasting, sustainable pieces. The entire production process is sustainable, ensuring safety by using nature-extracted colours and renewable resources, employing eco-friendly heating with zero carbon emissions, and recycling all production waste. The brand’s X-factor is an environment that encourages creativity and collaboration regardless of background. They strategically attract talent nationwide who bring hereditary expertise to their craft. A store by the beach Boho Bangladesh is planning an exciting expansion with a studio store in Cox’s Bazar. The location directly inspires their aesthetic, drawing from the Mediterranean bohemian lifestyle. Designed as a community platform rather than just a shop, the store will offer tourists a unique experience, featuring panoramic sea views and room for performances—a space where, as the founders note, “creativity flows best in nature”. Written By Fariha Hossain
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Ceramic Expo Bangladesh 2025: From Local Clay to Global Stage
Bangladesh’s ceramic industry has evolved from modest import substitution into a thriving manufacturing hub. More than 70 factories now produce tableware, tiles, sanitary ware, and ceramic bricks that meet global standards. The domestic market is worth Tk 8,000 crore annually, while exports to over 50 countries bring in nearly Tk 500 crore. In the past decade, production capacity and investment have surged 150%, fuelled by rising demand, sharper design, and steady technological upgrades. With cumulative investment topping Tk 18,000 crore and nearly 500,000 jobs created, ceramics have become a cornerstone of the nation’s industrial growth. Ceramic Expo Bangladesh 2025 Amid this momentum, Ceramic Expo Bangladesh 2025 showcased strength and ambition. Organised by the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA), the fourth edition ran from November 27–30 at the International Convention City Bashundhara, Dhaka. The international exhibition brought together manufacturers, exporters, machinery and raw material suppliers, technology providers, and industry stakeholders. It drew strong local and international participation, hosting 300 exhibitors from more than 25 countries, including Bangladesh, China, India, Italy, Spain, Turkey, UAE, USA, Japan, South Korea, and Vietnam. Registrations topped 28,000, with visitors spanning architects, engineers, dealers, buyers, researchers, students, and officials. How the Expo Unfolded The BCMEA announced the much‑anticipated 2025 edition of the Ceramic Expo at a press conference on November 23 at the Dhaka Reporters Unity. BCMEA President Moynul Islam and Fair Organising Committee Chairman Irfan Uddin outlined key features—500 international delegates, three seminars, a job fair, B2B and B2C meetings, live demonstrations, spot orders, raffle draws, and new product launches. The briefing was attended by Senior Vice Presidents Md Mamunur Rashid FCMA and Abdul Hakim (Sumon), Vice President Rasheed Mymunul Islam, and Director Mohd Ziaul Hoque Zico. Syed Ali Abdullah Jami, director (sales & marketing) of Sheltech Ceramics Ltd., the principal sponsor of this year’s expo, joined the press meet alongside top officials of the three platinum sponsors: Didarul Alam Khan, head of marketing at DBL Ceramics Ltd.; Md Ashraful Haque, general manager (sales) at Akij Ceramics Ltd.; and Shahajada Yasir Arafat Shuvo, manager (brand) of Meghna Ceramic Industries Ltd. On November 27, Commerce Adviser Sk Bashir Uddin inaugurated the fair as the chief guest at a ceremony presided over by the BCMEA president. Partners SL Category Partner Name 1 Hospitality Partner Radisson Blu Water Garden Dhaka Regency 2 Accommodation Partner Amari Dhaka Best Western Plus Runway Crowne Plaza Grace 21 Smart Hotel Holiday Inn Intercontinental Hotel Lake Castle Platinum Grand Platinum Residence Renaissance Dhaka Westin Dhaka Chuti Resort 3 Gift Partner Hotel Lake Castle Grace 21 Best Western Plus Maya Platinum Grand Platinum Residence Dhaka Regency Hotel & Resort Ltd. Holiday Inn Dhaka Chuti Resort 4 International Event Partner Unifair Exhibition Service Co., Ltd. S.A.L.A. srl (ACIMAC) Messe Muenchen India Pvt. Ltd. 5 Knowledge Partner Bangladesh University of Engineering and Technology (BUET) Ceramic ISC 6 Strategic Partner Foshan Uniceramics Expo 7 Food Partner Platinum Grand 8 Official Magazine Partner Ceramic Bangladesh Magazine Asian Ceramics 9 Support Partner Export Promotion Bureau ASEAN Ceramics (Vietnam) TECNA KERAMIKA Ceramics CHINA 10 Media Partner The Business Standard Channel i Banglanews24.com Ceramic Focus Magazine Ceramic India Samakal 11 Young Engagement Partner JCI Bangladesh 12 Technology Partner Betafore 13 Wardrobe Partner FIERO 14 Connectivity Partner Amber IT Ltd. Days Full of Activities Every day of this year’s Ceramic Expo Bangladesh offered something new and innovative for visitors and industry professionals. Fresh B2B and B2C meetings unfolded across the venue, while seminars and discussions addressed pressing issues critical to resolving long‑standing challenges. After the inauguration of the expo, Commerce Adviser Sk Bashir Uddin, BCMEA President and Italian Ambassador to Bangladesh Antonio Alessandro along with top industry leaders toured the pavilions of the Ceramic Expo Bangladesh 2025. ACIMAC’s Project Manager Antonella Tantillo and Commercial Director of SACMI Imola S.C. Fabio Ferrari also visited the stalls. SEMINAR ONE The first seminar on “Energy Efficiency Strategies for Industry in Bangladesh: Challenges and Opportunities”, Engr. Toufiq Rahman, keynote speaker and assistant director of the Sustainable and Renewable Energy Development Authority (SREDA), reported national progress toward a 20% reduction in energy intensity by 2030, with 15% already achieved. Md Mamunur Rashid FCMA, senior vice president of BCMEA and additional managing director of X Ceramics Ltd; SM Monirul Islam, deputy CEO and CFO of IDCOL; and Md Imam Uddin Sheikh, general manager (production & marketing) of Petrobangla, shared their thoughts. Additional insights came from Tanvir Ebne Bashar, unit head of IDCOL, on flexible financing; Matheendra De Zoysa, COO of Omera LPG, on emissions concerns; and Babor Hossain, consultant of Khadim Ceramics. SEMINAR TWO The second seminar, held on the third day of the expo on “Global Market Strategies: Challenges and Opportunities for Ceramic Products”, featured keynote speaker Dr. Aditi Shams, associate professor of International Business at the University of Dhaka, who delivered a data‑driven analysis. Dr. Mohammad Monirul Islam, associate professor at the University of Dhaka; Dr. Amir Ahmed, associate professor and head of Real Estate at Daffodil International University; M. Mamunur Rashid, CEO of Artisan Ceramics Ltd; and Baby Rani Karmakar, director general of the Export Promotion Bureau, also spoke at the event. SEMINAR THREE On the third day of the expo, the most important seminar, “Skills Development for Sustainable Growth in the Ceramics Industry”, chaired by BCMEA President Moynul Islam, also vice chairman of Monno Ceramic Industries Ltd, brought together policymakers, development partners, and industry experts. Hari Pada Das, TVET institutional strengthening expert; Mina Masud Uzzaman, member for coordination and assessment and joint secretary of the National Skills Development Authority (NSDA); ANM Tanjel Ahsan, programme officer at the ILO; Dr. Nazneen Kawshar Chowdhury, executive chairman
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SEVEN RINGS CEMENT BUILDING THE FUTURE, SUSTAINABLY
SEVEN RINGS CEMENT’s Commitment to a Stronger, Greener Bangladesh. In a nation where infrastructure is the backbone of economic growth and social progress, the quality and resilience of building materials are non-negotiable. As Bangladesh strides confidently towards its development goals, the construction sector stands at the forefront of this transformation. At Seven Rings Cement, we are not just suppliers of a fundamental material; we are partners in nation-building, committed to fuelling this progress with advanced technology, an unwavering commitment to quality, and a deep sense of environmental responsibility. As part of the Hong Kong-based multinational Shun Shing Group—founded in 1988 and a leading raw material supplier in Asia—Seven Rings Cement began its journey in Bangladesh in 1991. Fueled by market confidence and backed by the unparalleled raw material expertise of our Group’s trading arm, Cemcoa, we have grown into a premier manufacturer. Today, we operate with an annual installed production capacity of 8.4 million metric tons, delivering consistent, superior-quality cement to the nation’s development for over three decades. ENGINEERING STRENGTH WITH TECHNOLOGICAL EXCELLENCE At the heart of Seven Rings Cement’s operations lies a relentless pursuit of technological advancement. We understand that the integrity of every bridge, high-rise, and highway begins with the microscopic precision of its core material. Our state-of-the-art manufacturing plant is equipped with cutting-edge automation and process control systems, ensuring unparalleled consistency. This includes a unique technological setup in Bangladesh, featuring both Vertical Roller Mills (VRM) and Ball Mills, integrated with roller press technology for specialized slag grinding. Our commitment to quality is validated by rigorous independent testing. Seven Rings Cement is consistently evaluated and certified by premier national institutions including BUET, CUET, RUET, MIST, IUT etc. as well as by international testing bodies. This multi-layered verification ensures that every kilogram, whether a high-early-strength variant for rapid projects or a specialized grade for mega-infrastructure, delivers guaranteed, uncompromised performance—meeting and exceeding both local and global standards. A ROBUST DELIVERY SYSTEM: THE PROMISE OF RELIABILITY A superior product is only as good as its availability. Recognizing the critical timelines of modern construction, Seven Rings Cement has invested significantly in building one of the most robust and reliable supply chain and delivery systems in the industry. As the only cement manufacturer in Bangladesh with integrated production facilities in three strategic locations—Dhaka, Chittagong, and Khulna—we have established an unparalleled logistical advantage. Our extensive network, comprising a dedicated fleet and strategically placed distribution hubs radiating from these plants, ensures that our cement reaches every corner of the country promptly and in pristine condition. This tri-factory footprint minimizes transport time and cost, guaranteeing a steady, responsive supply to projects of all scales. GREEN MANUFACTURING: A PLEDGE TO THE PLANET True leadership in today’s industrial landscape means prioritizing the planet alongside productivity. Seven Rings Cement is profoundly committed to sustainable manufacturing, with a vision that extends beyond our borders—including our Green Factory in Dubai, which sets a global benchmark for eco-friendly production. Domestically, our initiatives in energy efficiency, waste heat recovery, and responsible resource management have firmly established our sector leadership. This comprehensive dedication has been nationally recognized with the prestigious Green Factory Award 2025, an accolade that celebrates our holistic environmental stewardship. We have implemented advanced systems to significantly reduce carbon emissions, conserve water, and maximize the use of alternative and recycled materials across our operations. By embracing greener practices locally and globally, we are actively reducing the environmental footprint of the construction industry, ensuring that the growth we help create today safeguards the well-being of future generations. THE CORNERSTONE OF QUALITY: PROVEN ON BANGLADESH’S MEGA PROJECTS Quality is a promise validated on the grandest stages. The rise in per capita cement consumption must be matched by a demonstrable commitment to excellence, and Seven Rings Cement’s quality is proven where it matters most: in Bangladesh’s landmark mega projects. Our cement has been a trusted component in the construction of critical infrastructure that defines modern Bangladesh. From the iconic Padma Bridge, a symbol of national pride and engineering marvel, to the Hatirjheel Integrated Development Project that transformed urban mobility in Dhaka, Seven Rings Cement has provided foundational strength. Our products have been integral to key national infrastructures like the Payra Port, and critical roadways such as the Sylhet-Mymensingh Highway. We are a trusted cement supplier to major government entities, including BMTF and MES, supporting defense and public construction projects nationwide. Our cement has also contributed to key aviation expansions at Shahjalal International Airport, Cox’s Bazar Airport, and Sylhet Osman Goni Airport, and vital urban transport links including the Metro Rail, Kuril Flyover, and Mayor Hanif Flyover. Most significantly, we are proud to be associated with the Rooppur Nuclear Power Plant, Patuakhali 330 MW Power Plant where uncompromising material quality is essential for national energy security. A SHARED VISION FOR NATIONAL PROSPERITY Much like the visionary approaches seen in allied building materials industries, Seven Rings Cement believes in the transformative power of core materials. We see our role as integral to developing a self-reliant industrial ecosystem. Our journey is aligned with the nation’s aspirations. As per capita cement consumption grows and mega projects reshape our horizon, Seven Rings Cement remains a dedicated partner. We continue to innovate, strengthen our delivery promises, and deepen our green initiatives, Seven Rings Cement remains a dedicated partner in constructing a stronger, more resilient, and greener Bangladesh—one solid, responsible foundation at a time.
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bti focuses on affordable housing to achieve SDGs due time
The Building Technology & Ideas Ltd (bti), a real estate developing company in Bangladesh, started its journey in 1984. Over the years, the company has become a pioneer in the construction of high-rise and luxury buildings in the country. The company has already constructed around 450 buildings so far, and is working on 72 projects at the moment, and additional 100 projects are in pipelines. It has around 8,000 clients. “Thanks to maintaining customers’ commitment, accountability, delivering product timely, and ensuring quality products, the bti has made its today’s place in the country’s real estate sector,” Faizur Rahman Khan, managing director of the bti, shared his views with the Ceramic Bangladesh Magazine in an exclusive interview. He said the company’s motto is customer satisfaction. However, the bti started its journey with three projects in 1984. The company had six projects in 1990. How did bti expand its business? In 1992, it started building costlier luxury apartments in Gulshan at first, and in 1993 in Baridhara. It was a milestone for the real estate sector. Basically, the housing industry continued to expand after 2000. But in the 2007-08 year, the industry began to suffer owing to political unrest, Faizur Rahman informed. He stated that innovation is what sets the company apart from others. “We always try to bring innovation in every project. Customers are overwhelmed by our diversity. That is why they feel comfortable with the bti. Now it is a leader in aesthetic architecture.” In the 1990s, real estate companies faced a difficulty to buy land for housing as individual owners did not want to give up their lands easily. Besides, there were also complications regarding the registration of lands and flats. The bti took the initiative to build houses by sharing apartments with the landowners and approached the government for legislation. Later, only land registration was possible at the time. As a result, if you bought a flat, you would not be the owner of the land. “We started linking the flat ownership with the land ownership,” he said. He added that the Real Estate and Housing Association of Bangladesh (REHAB) has 500- 600 registered members. Of this, literally, there are 5-6 companies who are very active in the sector, and 10-12 companies who did one-two projects. The rest of the companies are ‘name only company’. “We cordially maintain commitment to customer, and hand over projects timely which are very crucial for the business. Even, we try to hand over projects before several months ago from agreement time for last few years. We don’t compromise in design and construction so we follow all codes, and rules of RAJUK and other organizations. We think so that clients are not faced any troubles in future,” the managing director said. Basically, bti serves three category of apartments – luxury apartment, classic, and affordable. The luxury apartments are generally built in Gulshan, Banana, Baridhara, and Dhanmondi areas. Classic apartments high demand to customers. The highest number of this apartments is in Bashundhara region where 40 mid-level projects are undergoing, and others are at Lalmatia, Mogbazar, and Segunbagicha areas. “Finally, affordable apartments—recently we started this as IMF and World Bank encourage it to ensure SDGs,” Rahman said. Generally, its apartment size is 500-600 squre feet. Its price is less than Tk 50 lakh. Customers can buy the apartment taking 70% of loan. So, bank loan should be fixed at reasonable interest rate for a long time. Ensuring safe and affordable housing for all Faizur Rahman highlighted that now the bti is focusing on affordable housing to achieve Sustainable Development Goal (SDGs) right time. In this regard, they discuss with a Japanese company to ensure Tk 200 crore investment in the industry. The affordable housing is addressed within the United Nation (UN)’s SDG- 11, which aims to make cities and human settlements inclusive, safe, resilient, and sustainable. Specifically, SDG target 11.1 by 2030 calls to ‘ensure access for all to ensure adequate, safe and affordable housing and basic services, and upgrade slums’. “To achieve the goal, all government’s officials should be cordial. There is needed a bribe, corruption, and hassles free business environment in the country,” he also commented. Real estate industry facing multiple challenges Faizur Rahman highlighted that the industry is facing multiple challenges including Detailed Area Plan (DAP). The DAP should be practical. There is a big gap between academia and industry. To make it successful, there is needed consultation with the realtors. The Floor Area Ratio (FAR) should not reduce such level which will create a problem to give space for the people as it is a density population country. Investment in projects has become slow as the government halted many mega projects. Besides, there is political instability right now. So, the demand for apartments also decline. Potential of ceramic products in housing industry Faizur Rahman said there is huge potential of ceramic products particularly tiles in real estate industry. The demand for the items rapidly increased in both local and international markets. The products contribute to bring attractive, and save time in construction of buildings. Written By Rafikul Islam
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FIERO’s Custom Clothing and Changing Urban Rituals in Bangladesh
What began as a modest idea in mid-2017—to provide home-service tailoring for people constrained by time—has, within eight and a half years, evolved into FIERO, a leading bespoke and made-to-measure clothing practice in Bangladesh. Rooted in Dhaka yet informed by global traditions of craftsmanship, FIERO reflects a quiet shift in how custom clothing is conceived, experienced, and delivered in the local context. To understand this shift, it is necessary to look back at the tailoring culture that shaped earlier generations. For decades, the ritual was familiar: men accompanying their fathers or uncles to fabric stores overflowing with rolls of cloth in every imaginable colour and quality—good, bad, and everything in between. One would select a fabric, have it cut, leave measurements behind, and depart. The process was largely transactional, often hurried, and rarely comfortable. Instead of functioning like a conventional store, the tailoring journey is reimagined as something closer to being hosted in a living room. Guests are encouraged to slow down, sit comfortably with a cup of tea, and engage in unhurried conversation about what they wish to make. Founder and Managing Partner Syed Easir Alam (Yasir) explains that this sense of hospitality is intentional. “We welcome our guests with tea when they enter. Then we sit together and discuss fabric options. Our store is not a display centre of fabrics,” he says. With globalisation and changing lifestyles, bespoke clothing gradually became repositioned as a more exclusive, almost privileged service. Yet demand persisted across social strata—from lower-middle to upper segments—particularly among professionals, corporate executives, and business leaders for whom clothing remains closely tied to identity and confidence. FIERO emerged at this intersection of inherited practice and contemporary expectation. While a few brands in Bangladesh now offer bespoke services, FIERO’s approach centres less on retail and more on process. Rather than racks and shelves, fabrics are curated through carefully organised swatch books. Sourced from different parts of the world, these materials offer a range of quality and variety rarely available locally. Today, the collection includes more than 10,000 fabric options. Displaying such a volume physically would be impractical, but through swatches, clients can compare textures, weights, and finishes—many of them high-end, super-fine fabrics not commonly found in Bangladesh. This working method directly influenced the spatial decisions behind FIERO’s flagship space on Gulshan Avenue. The previous location, less than half the size, was inadequate for hosting multiple guests comfortably. The new space was conceived not merely as a store, but as a place where time could be spent without pressure. Guests may book appointments or walk in, settle into the space, and look out over the city. The intention is clear: no rushing, no crowding—only a calm environment that feels closer to home than to retail. Once fabrics are selected, measurements are taken by an in-house tailor to maintain consistency and quality. Design decisions follow, guided by a comprehensive catalogue that brings together options across categories—from trousers and jackets to full suits. Rather than prescribing styles, the process encourages clients to participate actively, choosing details that align with their needs and lifestyles. The interior design reinforces this approach. “We needed a place that felt like home—spacious and breathable,” says Alam. The layout prioritises openness, uninterrupted sightlines, and abundant daylight. Visual connections between inside and outside are maintained, allowing the city to remain a constant backdrop. A small book corner acknowledges FIERO’s largely educated and corporate clientele, for whom reading and reflection are familiar parts of daily life. In an era when people are increasingly particular—even about sleepwear—custom clothing demands attention to detail and emotional comfort. FIERO recognises that good decisions are made in good moods, and that environment plays a crucial role in the making process. Designed by Kaleek Consultants, the interior balances functionality with warmth: a continuous open space, multiple lounge-like seating areas, fitting rooms, tailoring zones, and work areas, all unified by light, views, and calm. FIERO’s story is not only about clothing. It is about rethinking bespoke tailoring in Bangladesh as a process shaped by time, comfort, and thoughtful design as much as by craftsmanship—offering a grounded example of what “Made in Bangladesh” can signify today. Written By Sadia Tarannum
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A House Carved from Verse Rabindra Kuthibari, Shilaidaha
In the quiet folds of Kushtia’s Kumarkhali upazila, just 20 kilometres away from the bustling town, stands a house that is not simply made of brick and timber—but of silence, river wind, and the rhythms of poetry. Rabindra Kuthibari, Shilaidaha, with its gentle red hue and pyramid-shaped roof, rises like a memory from the past. For those who follow the life and legacy of Rabindranath Tagore, this place is not just a historical site—it is a chapter from his soul. Long before the poet arrived, the land bore a different name—Khorshedpur. During the British colonial era, a European indigo planter named Shelly established a factory here. The convergence of the Gorai and Padma rivers created a swirling eddy nearby, a dah, which soon lent the village its new identity—Shellydaha. Over time, the name softened and reshaped itself into what it is today—Shilaidaha. It was in 1807 that Dwarkanath Tagore, Rabindranath’s grandfather, came into ownership of the estate through a will executed in his favour. And in the November of 1889, a young Rabindranath first arrived to take charge of his family’s zamindari. What was meant to be a duty, however, unfolded into something far deeper. Shilaidaha became the poet’s retreat, his muse, and his companion. Between 1891 and 1901, he stayed here on and off, and during those years, he wrote not only with discipline but with devotion. This house, nestled amidst orchards and ponds, framed by jackfruit and mango trees, heard the first lines of Sonar Tori, Chitra, Chaitali, and Katha O Kahini. The silence of the village, broken only by birdsong or boat horns on the river, gave birth to the songs of Gitanjali, fragments of Gitimalya, and most of Naibedya and Kheya. It was in this very setting, in 1912, that Rabindranath began translating Gitanjali into English. The poems—spiritual, meditative, and deeply intimate—were not just translations but transformations. In Shilaidaha’s peaceful stillness, words found a new cadence. By the time the English Gitanjali reached Europe, it was carrying the scent of Bengal’s riverbanks and the soul of this quiet estate. In 1913, this work earned him the Nobel Prize in Literature—making him the first non-European to receive this honour. But in many ways, the prize had already been won in these silent evenings spent under Shilaidaha’s sky. The house itself is unlike any ordinary zamindar residence. Built in the Indo-Saracenic style, the three-storied bungalow, with its sloping roofs made of Raniganj tiles and open balconies on every floor, seems more like a shelter for ideas than a place of power. Its walls, some say, were inspired by the gentle waves of the Padma River. Even now, though the Padma has changed its course and moved away, the spirit of the river lingers around the Kuthibari like a forgotten song still echoing in the wind. From its upper balcony, one could once see both the Padma and the Gorai flowing in opposite directions—a view so rare and sacred that it stirred the deepest parts of the poet’s being. Each morning, Rabindranath would sit by the window or wander into the yard, observing the life of villagers—their laughter, their burdens, their rhythms. From them, he drew characters, emotions, and philosophies. He often sat beside the pond under the shade of the Bakul tree, or climbed into his boat—the bajra—and let the wind on the Padma guide his thoughts. The poet did not write merely about the world; he wrote with the world. This house was no stranger to voices of genius. Friends and contemporaries from Bengal’s vibrant intellectual and cultural circles would gather here, filling the rooms with music, debate, laughter, and ideas that would shape the course of a generation. Among them were Sir Jagadish Chandra Bose, whose revolutionary experiments in science had already gained acclaim, Dwijendralal Roy, the dramatist and composer whose patriotic songs stirred Bengal’s heart, and Promoth Chowdhury, whose essays and prose defined modern Bengali literature. Others like Mohitlal Majumdar and Lokendranath Palit also visited, finding in Shilaidaha both serenity and stimulation. These gatherings were not formal assemblies, but soulful retreats—quiet celebrations of art, knowledge, and the interconnectedness of all thought. The nostalgia of this place seeps through every doorframe. Even now, within the walls of the restored Tagore Memorial Museum, visitors stand before the poet’s bed, wardrobe, writing chest, and even the commode brought from England for his use. Each object whispers stories of a time when poetry lived here—not just on paper, but in the stillness between footsteps, in the rustle of mango leaves, in the soft splash of oars against water. The house is surrounded by an expanse of trees, some now older than memory itself. The flower garden continues to bloom seasonally, much like the poet’s verses—timeless and regenerative. Two buildings stand near the gate, named Gitanjali and Sonar Tari, housing a library, an auditorium, and an office. During the celebrations of Tagore’s birth and death anniversaries, the grounds come alive again—with music, recitations, and the mingling of hearts drawn to his legacy. Though the Padma has drifted away and the house no longer sees boats docking at its ghat, the essence remains unchanged. The wind still carries the same softness. The pond still holds reflections of a poet who once stood beneath a mango tree and wrote not just about Bengal, but for Bengal. Rabindra Kuthibari, Shilaidaha is more than a destination. It is a feeling—a pause in time. It is where literature took breath, where rivers became metaphors, and where Rabindranath Tagore found both solitude and song. For those who visit, it is not merely about seeing where he once lived. It is about walking into the pages of his life. Written by Samia Sharmin Biva
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‘The Luminous Shade of Solitude’ – first solo exhibition by Azwad Ahmed
Azwad Ahmed’s first solo exhibition, The Luminous Shade of Solitude, presented a compelling selection of his recent works exploring themes of silence, emotional restraint, and inner reflection. The exhibition was inaugurated on December 18 and ran until December 24 at Gallery Chitrak. Ahmed’s work is subtle yet displays an evocative visual language. Through a restrained use of form, tone, and imagery, the artworks speak softly but with great impact, inviting viewers into deeper emotional and intellectual reflection. “The majority of the work in the exhibition is more recent and is centred around two main series. The first was inspired by a painting done in 2016 named Moshari,” expressed the artist. “This series was made using a technique that I developed through experimentation with acrylic paints and water. The process is reminiscent of childhood memories—watching raindrops slide across the windows of a moving car.” Curated by eminent artist and academic Professor Nisar Hossain, the opening ceremony was attended by distinguished artists, academics, and art enthusiasts. Noted art critic Professor Moinuddin Khaled presided over the opening event and shared his reflections on the exhibition. Professor Emeritus Rafiqun Nabi attended the inauguration as the chief guest, while eminent artists Professor Mohammed Eunus and Javed Jalil were present as special guests. Another series featured in the exhibition explores the blending of one or two colours, creating a symphony of emotional experiences. This series is more abstract and offers a sense of meditative calm and peaceful reflection. “These paintings are very meaningful to me because they highlight the beauty of colours that I have always loved, in a way that evokes calmness and spiritual contemplation,” Ahmed said. “There are other paintings as well, influenced by mid‑century modern aesthetics, which complement contemporary design in a very symbiotic way,” he added. Discussing his creative process, the artist revealed that it is based on the principle of working on larger batches of paintings, which he believes is the best way to create beautiful work in the long run. He often immerses himself in specific colour palettes, creating multiple works simultaneously while exploring different compositions and letting the flow of colour guide the process. He prefers to work in natural light and uses acrylic or oil paints in a variety of techniques developed through experimentation and learning from other artists. There are specific methods for various kinds of paintings, but sometimes the process becomes blurred when ideas start to flow and everything feels automatic. Although he most often uses acrylics, his older pieces include more oil paints. He has also experimented with watercolours, ink on paper, and sculpture using metal wire, among other mediums. The paintings in the exhibition were mostly divided by series: the Moshari series was primarily acrylic‑based, while the meditative collection contained more oils. When asked for advice to young artists, Azwad suggested they remain stubborn and true to themselves. “The best way to create something that represents you is to follow the thread of inspiration that leads you to creativity honestly and authentically. The world may be changing rapidly, but humanity has been making art for thousands of years. Make art that you would hang in your own home.” Azwad’s plans for the future include expanding his practice and connecting with the global art world. He intends to work on larger paintings and develop a responsible digital art presence that can help carry the humanity of this process into what he believes is increasingly becoming soulless and sloppy. He wants to continue in the direction he has been moving, focusing on the inner beauty of human experience. Written by Tasmiah Chowdhury
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BBF honours 45 best brands of Bangladesh
Forty-five of the country’s leading names were recognised at the Best Brand Award, organised by the Bangladesh Brand Forum (BBF) on December 20. The ceremony, staged at Le Méridien Dhaka in partnership with nSearch Ltd, also unveiled the top 15 most loved brands of Bangladesh. Local companies once again dominated the rankings, with bKash Limited taking the top spot. RFL Houseware followed in second place, while Radhuni secured third. Among the other winners were household favourites, including Ispahani Mirzapore Tea, Grameenphone, Shwapno, Fresh Atta/Maida/Suzi, Close Up, Sunsilk Shampoo, Maggi 2 Minute Noodles, ACI Pure Salt, Parachute Advansed, Pran Mango Juice, Mojo, and Rupchanda Fortified Soyabean Oil. AMA Coffee was singled out as the “Most Emerging Brand of Bangladesh”, recognised for recording the steepest rise in brand equity across consecutive assessments. The evening featured a detailed presentation by Asif Mahamud, director of nSearch Ltd, who outlined the methodology behind the 2025 awards. The study spanned all eight divisions of the country, covering both urban and rural areas, and drew responses from 12,400 participants—equally split between men and women. The research relied on in-category evaluation through a brand equity index, combined with cross-category harmonisation using a multiplicative model to align parameters across different segments. Data were gathered through online and self-administered interviews across 45 categories. Launched in 2008, the Best Brand Award was conceived by BBF to inspire and honour the nation’s most loved brands. It celebrates success achieved through sustained, strategic effort. This year’s event was supported by several partners: International Advertising Association Bangladesh (IAAB) as strategic partner, Turkish Airlines as carrier partner, and the Marketing Society of Bangladesh (MSB) as knowledge partner. For this year’s event, Le Méridien Dhaka provided hospitality, while Backpage PR managed communications. Written by Tasmiah Chowdhury
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Leading Without Pause: Akij Ceramics wins Seventh Consecutive Best Brand Award
For the seventh consecutive year, Akij Ceramics has been honoured with the prestigious Best Brand Award 2025, a milestone that reinforces the brand’s unmatched leadership and enduring consumer trust in Bangladesh’s ceramic tiles industry. True leadership is defined not by a single achievement but by the ability to sustain excellence. In a rapidly evolving and competitive market, Akij Ceramics has consistently stayed ahead—setting the benchmark through uncompromising quality, continuous innovation, and a deep understanding of consumer expectations. Since first receiving the Best Brand Award in 2019, the brand has steadily strengthened its bond with consumers nationwide. Anchored in its guiding philosophy, “Promise of Perfection,” Akij Ceramics delivers products that seamlessly blend advanced technology, refined aesthetics, and dependable performance—shaping spaces with confidence and distinction. Organised by the Bangladesh Brand Forum, the Best Brand Award is among the country’s most credible recognitions, determined through extensive consumer research and expert evaluation. Earning this honour seven times in a row underscores the brand’s consistency, credibility, and influence within the industry. This exceptional consistency is further validated by the brand’s recognition as a “Superbrands” award winner for two terms (2023–24 and 2025–26), reaffirming Akij Ceramics’ position as one of the most trusted and admired brands in the country. As Akij Ceramics celebrates this landmark achievement, the brand remains focused on raising the bar even higher—driving innovation, elevating quality standards, and continuing to lead the ceramic industry with clarity, confidence, and purpose.
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Akij Board has won the Best Brand Award for two consecutive years in the Board Category
Akij Board has once again been honored with the Best Brand Award in the Wooden Board category at the Best Brand Awards 2025, marking its second consecutive win and reaffirming its position as the defining leader of the category since its inception. As the inaugural winner when the category was first introduced, Akij Board continues to set the benchmark for excellence, innovation, and customer empowerment in Bangladesh’s board industry. Organized by the Bangladesh Brand Forum, the Best Brand Awards honor brands that demonstrate consistent leadership, strong consumer trust, and long-term impact. Through a rigorous evaluation process based on consumer insights and expert analysis, Akij Board once again emerged as the standout choice, reinforcing its leadership in the Wooden Board category. Driven by its empowering philosophy, “Now You Can,” Akij Board has consistently expanded the boundaries of what is possible in surface solutions. From advanced technologies and refined finishes to a diversified portfolio of premium boards, the brand enables designers, craftsmen, and homeowners to translate vision into reality with confidence and creativity. This sustained recognition reflects Akij Board’s commitment to evolving with customer needs while shaping industry standards rather than following them. By combining reliability, performance, and forward-thinking design, the brand has transformed boards from functional materials into enablers of modern living and architectural expression. Winning this award for the second consecutive year underscores Akij Board’s role as the brand that defines the category it leads. As the journey continues, Akij Board remains focused on unlocking new possibilities, driving innovation responsibly, and staying true to its promise that with Akij Board, Now You Can.
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REHAB Fair 2025 begins in Dhaka on Dec 24
The housing sector in Bangladesh is preparing for its biggest annual showcase as REHAB Fair 2025 opens its doors on December 24 at the Bangladesh China Friendship Conference Center (BCFCC) in Dhaka. Running until December 27, the fair promises to bring together developers, financiers, and buyers under one roof, offering a rare chance to explore the breadth of the country’s real estate industry. With 220 stalls, the event is designed to highlight the scale and diversity of the housing market. Four diamond sponsors, seven gold sponsors, 10 co-sponsors, 14 building materials companies, and 12 financial institutions will take part, reflecting the sector’s growing reach. The announcement came during a press conference at the Cirdap auditorium in Dhaka, where REHAB President Md Wahiduzzaman outlined the fair’s significance. Senior leaders, including Liaquat Ali Bhuiyan, Mohammad Akter Biswas, and other directors joined him, underscoring the collective effort behind the event. For Wahiduzzaman, the fair is more than a showcase. He described REHAB as the government’s key partner in infrastructural development, stressing its role in ensuring safe housing for present and future generations. The president emphasised fairness and equality in housing opportunities, calling for policies that enable developers to serve citizens across income levels. He pointed to the new Detailed Area Plan (DAP) and Dhaka Metropolitan Building Regulations 2025 as milestones that have removed longstanding complexities and inequalities. These reforms, he said, will restore confidence among real estate businesses and stabilise the sector in the long term. Crowds are expected to swell during the three-day holiday period, and organisers anticipate strong public interest. Wahiduzzaman described the fair as a trusted platform where buyers and developers can meet directly. The chance to compare project quality, location, facilities, and investment potential across so many institutions, he noted, is almost impossible outside this event. Beyond property sales, the fair will offer visitors access to housing loans, financial services, and modern construction materials. Buyers will be able to examine every aspect of home ownership in one place, from financing to building supplies, making decision-making easier and more transparent. The REHAB Housing Fair has a long history. First held in Dhaka in 2001, this year marks its 27th edition in the capital. Sixteen fairs have also been held successfully in Chattogram, while international editions have taken place since 2004. Twelve fairs have been organised in the United States, alongside events in the United Kingdom, Dubai, Italy, Canada, Sydney, and Qatar. These overseas ventures have helped expatriates secure housing back home while generating foreign currency for Bangladesh. The fairs, organisers say, have enriched the economy and fostered growth in both the housing industry and related sectors. Sponsors play a central role in the fair’s success. Diamond sponsors include Asian Town Development Ltd, Eastern Housing Ltd, Sheltech Ltd, and Tropical Homes Ltd. Gold sponsors range from Asian Lands Development Ltd to Northsouth Consortium Ltd, while 10 co-sponsors add further depth to the line-up. The co-sponsor institutions are: 1. Anwar Landmark Ltd, 2. Assure Development and Design Ltd, 3. Comprehensive Holdings Ltd, 4. Cube Holding Ltd, 5. Onward Development Ltd, 6. Platinum Holdings Ltd, 7. Sena Kalyan Constructions and Developments Ltd, 8. The Structural Engineers Ltd, 9. Subarna Bhumi Housing Ltd, 10. TM Asset Ltd. Together, they represent the breadth of the industry, from established developers to emerging firms. The inaugural session will be held at the Hall of Fame of the Bangladesh China Friendship Conference Centre, with RAJUK Chairman Engineer Md Riazul Islam as chief guest and National Housing Authority Chairman Ferdousi Begum as special guest. Visitors will be welcomed after the ceremony on December 24, with entry hours from 10am to 9pm on subsequent days. Tickets remain accessible, with single entry priced at Tk 50 and multiple entry at Tk 100. The Tk 100 ticket allows five visits during the fair, making it attractive for serious buyers. All proceeds will be channelled into corporate social responsibility projects for the underprivileged, reinforcing the fair’s social commitment. Each ticket also includes free refreshments, while daily raffle draws at 9pm promise valuable prizes, adding excitement to the evenings. Written by Nibir Ayaan
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Akij Tableware Hosts the First Ever Business Conference in Bangladesh’s Tableware Industry
Akij Tableware, a proud concern of AkijBashir Group, has made history by hosting the first-ever business conference in Bangladesh’s tableware industry. The landmark event, titled “Akij Tableware Evolve Beyond Business Conference 2025,” was held on 19th December 2025 at the Ocean Paradise Hotel and Resort in Cox’s Bazar. The conference brought together around 150 participants, including nationwide business associates, senior management, and members of the Akij Tableware team. It created a meaningful platform to strengthen partnerships, celebrate success, and set the direction for the future of one of the country’s fastest-growing tableware brands. In an industry where large-scale strategic gatherings are rare, Akij Tableware’s initiative set a new benchmark for collaboration and leadership. The conference underscored the brand’s commitment to building a stronger and more future-ready distribution ecosystem across Bangladesh. Throughout the day, attendees engaged in strategic discussions and product showcases that demonstrated Akij Tableware’s continuous growth and innovation. Chief Operating Officer (COO), AkijBashir Group- Mohammod Khourshed Alam; General Manager, Sales and Marketing, Akij Tableware- Md. Mahbubur Rahman; General Manager, Production, Akij Tableware- Engr. Zayedur Rahman; Director, Productions, Akij Ceramics- Md. Saidur Rahman Khan & Deputy General Manager- Md. Shahriar Zaman shared their insights and future outlook, alongside other managerial bodies and employees who contributed their perspectives to align the brand’s collective vision. Set against the stunning backdrop of Cox’s Bazar, the conference offered an unforgettable blend of strategic reflection, learning, and celebration. For many attendees, it became a memorable milestone and a symbol of Akij Tableware’s evolving journey. With the success of its first-ever Business Conference, Akij Tableware is now poised to “Evolve Beyond” as it enters a new era of growth, strengthened partnerships, and enhanced market presence nationwide – continuing its commitment to bringing out the best in quality, design, and customer experience.
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VITTI Sthapati Brindo Ltd wins Asian Townscape Award 2025
Bangladesh’s architectural journey reached a new height this year as VITTI Sthapati Brindo Ltd won the Asian Townscape Award 2025 for the Hatirjheel Integrated Development Project. The recognition not only honours the firm’s vision but also highlights Dhaka’s growing commitment to sustainable urban transformation. The award was presented on November 27 this year at the CIC-Zero Carbon Park in Hong Kong, where VITTI’s Directors, Architect Iqbal Habib and Architect Ishtiaque Zahir, received the accolade alongside the project’s client and RAJUK Chairman Engr. Md. Rezaul Islam. Their joint presence reflected the collaborative spirit behind Hatirjheel’s success, a project that has become emblematic of how shared effort can reshape a city’s identity. The Asian Townscape Awards (ATA) themselves carry a rich legacy. First launched in 2010, they were created through a collaboration between UN-HABITAT’s Regional Office for Asia and the Pacific (ROAP), the Asian Habitat Society (AHS), the Fukuoka Asian Urban Research Center (URC), and the Asia Townscape Design Society (ATDeS). From the beginning, the awards sought to honour cities, regions, and projects that enhance the living environment while respecting both human and natural contributions to the built landscape. This year’s competition was particularly competitive, with 72 submissions from across Asia. Out of these, 11 projects from 7 countries were selected, reflecting the diversity of urban innovation across the continent. Both Bangladesh and India secured notable achievements, demonstrating South Asia’s growing influence in sustainable townscape design. Dhaka’s Hatirjheel project stood out in the lake and water body development category, a recognition that speaks to the city’s ability to transform neglected waterways into thriving public destinations. The project’s success was not the result of a single vision but rather the combined efforts of architects, planners, engineers, and policymakers who worked together to create a model lakeside urban environment. By reclaiming overlooked water bodies and integrating them into the city’s fabric, Hatirjheel has become a symbol of how sustainable urban design can reshape dense cityscapes. Its recognition marks Bangladesh’s first city-level award in this category, a significant step forward for a nation that had previously received three Jurors’ Awards but never a full city-level honour. The philosophy behind the ATA has always been simple yet profound: to celebrate projects that improve urban life while embracing both tangible structures and intangible cultural practices. This holistic approach ensures that the awards are not just about architecture but about the lived experience of urban spaces, where parks, waterways, and buildings coexist with traditions, communities, and everyday life. Over the past 15 years, the ATA has grown into a truly pan-Asian platform. Projects from more than 90 cities across Japan, South Korea, China, Singapore, Myanmar, Vietnam, Thailand, Nepal, Bangladesh, Sri Lanka, Pakistan, India, and Indonesia have been recognised. Each award tells a story of transformation—whether through the protection of nature, the cultivation of sub-nature, or the creation of buildings that drive regional development. In 2025, the awards continue to evolve, co-hosted by UN-HABITAT ROAP, URC, AHS, ATDeS, and the Architecture & Urban Research Institute. This latest cycle promised to spotlight projects that embody the Sustainable Development Goals (SDGs) while offering practical lessons for cities across the region. Ultimately, the Asian Townscape Awards are more than an annual ceremony. They are a call to action, urging cities to rethink how urban spaces can serve both people and the planet. For Bangladesh, Hatirjheel’s recognition is not just a triumph of design but a reminder that sustainable urban transformation is possible when vision, collaboration, and community converge. Written By Nibir Ayaan
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A Carnival of Crafts and Community
Dhaka’s winter evenings are about to take on a new glow as Aarong ushers in the return of its Winter Wonderland, an immersive showcase where rural women’s artistry meets festive joy, turning December nights into a living tapestry of culture and creativity. Now in its second season, the month‑long festival is more than a carnival—it is a crafted journey into Bangladesh’s artisan heritage, blending music, food, games, and storytelling with the warmth of community celebration. The event stretches across two vibrant spaces, each designed to immerse visitors in the story of Bangladeshi craftsmanship. At the Tejgaon Outlet Parking Lot, glowing gates open into a world of artisan stalls, DIY craft corners, food kiosks, and the aarong.com experience zone. Here, the main stage sets the rhythm for music and performance, while every stall tells a tale of the rural women whose hands weave, carve, and print the designs that define Aarong. Terracotta Tales, meanwhile, offers a different flavour of festivity. Families will find carnival games, a dedicated children’s zone, and a curated menu of seasonal treats. Unlike the Tejgaon site, this space welcomes visitors without registration, ensuring the carnival atmosphere flows freely between both venues. The experience is designed to be more than entertainment. Every purchase, every photograph taken, and every beat enjoyed feeds back into the lives of the artisans who make Aarong possible. It is a circle of value, where celebration meets empowerment. Late-night shopping adds another layer to the festivities. On event days, the Tejgaon outlet extends its hours until 11pm, inviting guests to browse curated collections that reflect the warmth and colour of the season. Entry to the Tejgaon grounds requires online registration via Tickify, though Aarong Rewards and Club TAAGA cardholders enjoy automatic access. Presenting a card secures entry for the holder and a guest, making the carnival as inclusive as it is immersive. With music, crafts, games, and food stitched together into one month-long celebration, Aarong’s Winter Wonderland is not simply an event. It is a reminder of how heritage can be lived, shared, and celebrated—one artisan story at a time. Event Highlights Week 1: Pitha Utshob (December 4 & 5) Visitors can enjoy live folk performances and taste a variety of seasonal pitha at dedicated stations. Week 2: Thanda Beats (December 11 & 12) The atmosphere will be filled with winter rave vibes under the stars, featuring music from some of the city’s top DJs. Week 3: Fake Wedding (December 18 & 19) Guests can take part in a playful “biye-bari” experience, complete with a “Holud meets meme culture” zone. The staged wedding night will include henna, paan, bangles, and photo booths, alongside dance acts and live DJ sets. Week 4: Concert (December 25 & 26) The season will close with star-studded live concert performances, bringing the month to a musical finale. Every Week The Aarong.com Experience Zone will showcase the newly refreshed aarong.com through interactive, fun, and style-led activities. Artisan Meet & Greet sessions will highlight crafts such as nakshi kantha, pottery, block printing, jewellery, and jamdani. Craft videos and demonstrations will show how heritage techniques continue to keep traditions alive. Community Impact initiatives will support women artisans and local craftspeople. Food and vibes will be provided through winter treats, festive snacks, and cosy hangout corners. A dedicated kids’ zone will offer fun activities and games for children. Written by Nibir Ayaan
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IAB Build Expo, ArchSummit End on High Note
The curtain fell on the successful IAB Build Expo 2025 and ArchSummit on December 13 in the capital, offering meaningful and comprehensive insight into the breadth and depth of Bangladesh’s building sector. What began as a three-day curated event unfolded into a dynamic celebration of architecture, design, and dialogue, ensuring ample space for both attendees and industry leaders. The final day featured two back-to-back seminars—one on “Building Resilience: Architects Upholding the Human Spirit and Community Strength” and the other on “Evolving Skylines: Navigating Tropical Climates and Urban Density”—featuring top architects from various parts of the world. The first plenary session on building resilience, much like its weighty theme, brought together a distinguished panel of four world-class architects. The session featured homeland pride Marina Tabassum and Md Iqbal Habib, alongside Minsuk Cho from South Korea and Robert Bannura from the USA. All four architects shared a common approach to design as a social and ethical practice, emphasising human experience and a conscious resistance to homogenised global architectural trends. During the panel discussion, Marina Tabassum reflected on how government bodies and non-governmental organisations often impose ready-made solutions on communities without fully understanding their lived realities. She pointed out that, with deeper engagement and careful listening, the same expenditure could be used more efficiently. Md Iqbal Habib, known for his role as a socially committed architect and for speaking out against unplanned urbanisation and environmental neglect, noted that architects often assume they know everything that needs to be done. In reality, it is the people who live in a place who best understand their needs—and it is from them that architects should learn what truly needs to be built. According to Roberto Bannura, architects have the opportunity to serve the public interest even while executing private projects. He underscored that professional agency allows architects, despite constraints set by clients, to engage meaningfully with communities. This approach transcends mere commission fulfilment, enabling them to dedicate a significant portion of their portfolio to creating a lasting societal impact. Addressing the challenges of resilient design, Minsuk Cho spoke candidly about how public space projects often clash with Korea’s dynamic political landscape. Yet, he offered a powerful rebuttal to instability: “Despite economic and political unrest, a project goes on. Our approach must be to believe in the power of the site and the location, and, crucially, to use the best possible resource for completion: the community itself.” The second plenary session explored the rapidly changing skylines of Dhaka, Chattogram, and other fast-growing cities. The core discussion focused on how high-rise development, imported materials, and global design influences are reshaping Bangladesh’s urban identity, liveability, and climate resilience, prompting a critical reassessment of current growth trajectories. Leading architects, including Patrick D’Rozario, Bayajid Mahbub Khondker, Md Ehsan Khan, Nahas Ahmed Khalil, Roberto Bannura, and Mushtapa Khalid Palash, presented insights from their respective practices on the challenges and possible approaches to building in climate-sensitive, high-density environments. In his closing remarks, Mushtapa Khalid Palash reflected that while people’s perceptions of the skyline may vary, in reality it remains an abstract concept. He emphasised that tropical climates are not merely conditions to design around—they are realities architects must design through. “To create skylines that express a distinctive identity, we need to acknowledge our monsoons, intense sunlight, vernacular textures, and the deeply social fabric of our urban life, allowing our cities to emerge organically from place, climate, and culture.” The ArchSummit concluded with a memorable celebration, where vibrant cultural performances featuring group music and folk dance, infused with a distinctly Bangladeshi essence, honoured the host country. The closing ceremony recognised all participating architects, guest speakers, and organisers. The event’s momentum carried through the final hours, with insightful seminars driving future visions and the corridors facilitating valuable networking and professional exchange. Written by: Fariha Hossain
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IAB Build Expo, ArchSummit See Vibrant Participation of Architects on Day 2
Day two of the global events of the Institute of Architects Bangladesh (IAB) — the IAB Build Expo 2025 and Bangladesh ArchSummit 2025 — saw vibrant participation from architects, designers, academics, and industry leaders from home and abroad. While the ArchSummit hosted curated seminars and panel discussions for registered participants, addressing key issues within the contemporary architectural landscape, the IAB Build Expo — the country’s largest exhibition of building materials and construction innovations — remained open to all visitors. Held at the Bangladesh-China Friendship Conference Centre (BCFCC) in the capital alongside the expo, IAB launched Bangladesh ArchSummit 2025 under the theme “Crafting Space, Shaping Habitat.” The three-day event, running from December 11 to 13, brought together global and local experts from various fields to engage in dialogue on the future of Asia’s built environment. The ground floor of BCFCC hosted a lively exhibition where leading brands showcased their latest products and innovations, allowing visitors to explore advancements that support stronger, safer, and more sustainable construction. The second floor featured a dedicated ArchSummit seminar hall, with adjacent corridors displaying award-winning architectural projects from Bangladesh, creating a well-curated and dynamic event overall. Architect Rashed Chowdhury, a practising architect and founder of Dehsar Works (DW), opened the second day’s roundtable discussion on the “Poetics of Crafting Spaces” with a fundamental question: “Where is here?” “Our geographical and socio-political context inevitably shapes our responsibilities as designers — influencing how we think about space-making and the materials we choose,” he said. By posing this question, he invited participants to examine how the sense of belonging is defined, whether “here” is determined by political boundaries or by the deeper, more enduring contours of culture and identity. Speaking on materiality, award-winning green architect Rizvi Hassan remarked that it is much like cooking — and that, like any good chef, architects should feel free to use all the ingredients available to them. Shamsul Wares, a trailblazer of contemporary Bangladeshi architecture and an eminent art critic, reflected on how modern architecture’s obsession with efficiency has fallen short, arguing that true value lies in quality and the poetic dimension of space. “Architecture is about designing experience,” he said, highlighting light as both phenomenon and material. Wares urged architects to learn from modernity’s mistakes while considering the body, soul, and society in their work. “All art wants to be poetry. Poetry wants to be music. And music ultimately wants to be spirituality,” he concluded. The event’s guest of honour, Architect Fawad Suhail Abbasi, president of the Institute of Architects, Pakistan (IAP), reflected on how the day’s discussion prompted him to reassess his own practice. With his firm long focusing on brick and sustainable architectural practice, he realised that one cannot overlook the foundational lessons inherited from peers and mentors. He emphasised the importance of finding the mentor within oneself, following that inner direction, and discovering one’s own architectural path, much like the evolving journey of Bangladeshi architects today. After a break for prayer and lunch, a second panel discussion on design, dialogue, and direction in shaping habitat brought together local architects and academics. The discussion highlighted how governments worldwide often overlook the realities of architectural practice — advising against costly materials without recognising that every material has its place when used appropriately. One panellist noted that while academic curricula aligned with the SDGs have expanded, they fail to create responsible citizens who can truly improve the city and country. The day concluded with the IAB Induction Ceremony 2025, welcoming its new fellows and members. Chief Adviser of the Government of Bangladesh, Muhammad Yunus, conveyed his heartfelt congratulations virtually, noting that one of the year’s first significant milestones was the unification of the Architects’ Association of South Asia. With representatives from seven countries coming together, he emphasised that this collaboration would strengthen knowledge exchange, professional cooperation, and a sense of fraternity among architects across the region — particularly as many of their challenges remain shared. Written by Fariha Hossain
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Bangladesh ArchSummit 2025 Begins Alongside the IAB Build Expo 2025
The Institute of Architects Bangladesh (IAB) inaugurated the Bangladesh ArchSummit 2025 today, December 11. This year’s theme, “Crafting Space, Shaping Habitat,” sets the stage for a grand celebration of architecture, education, profession and practice, ideas, innovation, and excellence. Running in parallel with the Summit, IAB also launched the IAB Build Expo 2025, the country’s largest exhibition of building materials and construction innovations. Both events will continue until December 13 at the Bangladesh China Friendship Conference Centre (BCFCC). The Summit is open exclusively to registered participants, while the Expo is open to all visitors. This year’s Summit has been carefully planned with a distinguished lineup of renowned international and national speakers, along with a range of enriching programmes, including an exhibition of award-winning architectural works, roundtable discussions, a young citizens’ painting competition, a photography competition, and exciting cultural events for registered participants. Participants will also have the opportunity to attend the Student Forum, Youth Forum, and plenary sessions, where esteemed speakers will share their ideas, design philosophies, and professional insights throughout the three-day event. Day One began with the Student Forum, featuring a quiz and debate competition, and included the Summit and Build Expo Inauguration Ceremony. Other attractions include the Open Photography Competition, Young Citizens’ Painting Competition, and Public Exhibition on Architecture. The Young Painting Exhibition features curated artworks submitted by students from Classes 6 to 10. The jury panel for the selection included Architect Rafiq Azam, artist Afzal Hossain, and Farida Zaman. The theme of the architectural works exhibition, PEOPLE | PLACE | PRESENCE, celebrates architecture that shapes communities, responds to context, and defines presence through space. The exhibition showcases curated works selected from project submissions in the following categories: Internationally Awarded Projects (2024–2025) from Bangladesh IAB & BERGER Award Projects (last cycle) Public Projects (nationwide) Projects Located in Old Dhaka The project selection team comprised Dr. Abu Sayeed M Ahmed, Ar. Khan Md. Mahfuzul Hug Zaglul, Ar. Nowajish Mahbub, Dr. Khurshid Zabin Hossain Taufique, and Prof. Zainab Faruqui Ali. The ArchSummit and Build Expo aim to provide a platform for architects, students, industry professionals, and the public to explore architecture, innovation, and the future of the built environment in Bangladesh. Written By Tasmiah Chowdhury
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Gallery Plat-forms Hosts ‘Beyond the Veil’
Gallery Plat-forms is hosting ‘Beyond the Veil’ – 3rd solo exhibition by M F I Mazumder Shakil. In this exhibition, the artist presents the ancient medium of woodcut in a fresh, contemporary artistic form. A total of 24 woodcut prints are on display which includes 8 large-scale works. The exhibition began on November 9 and has now been extended until December 13, with visiting hours from 11 am to 8pm. As noted by Gallery Plat-forms, in ‘Beyond the Veil’, Shakil revives the long-format woodcut to explore a world both intimate and exclusive. Through sweeping panels in amber, midnight blue, and stark monochrome, a woman emerges through fabric, fold and shadow. The veil becomes a threshold rather than concealment, inviting us to see without seeing. Each cut and layer conjures the textures of cloth and memory, secrecy and freedom. Part portrait, part landscape of the unseen. Beyond the veil transcends identity to question how we perceive, what lies hidden. Rooted in tradition yet distinctly contemporary. Shakil’s work reimagines the politics of visibility and expands the language of global printmaking. “My work is primarily in printmaking – specifically woodcut. I begin by drawing on plywood or any other board, then carve the block using woodcut tools based on the distribution of light and shadow. After that, I apply ink to the block with a roller through various processes, and finally transfer the print onto paper. Depending on the size, completing a single piece can take several months,” explains Shakil. “I have participated in various exhibitions, art camps, and art fairs both in Bangladesh and abroad. In the future, I plan to organize solo exhibitions outside the country as well. In recent times, young artists in Bangladesh have been tirelessly pursuing creative practice, and their works have already received significant recognition on the international stage. However, the overall acceptance of fine arts within the country has yet to reach the desired level. I remain hopeful that with proper patronage and support, our artists will be able to present Bangladesh’s artistic heritage to the world with even greater distinction,” the artist further adds. Mohammed Fakhrul Islam Mazumder, a Bangladeshi artist born in Comilla in 1989. He completed his M.F.A and B.F.A in Printmaking from the Faculty of Fine Arts at Dhaka University in 2016 and in 2014. Mazumder has held two solo exhibitions— “Obscure Beauty” (GalleryChitrak, 2023) and “The Odyssey of the Soul” (Zainul Gallery, 2018). His art has been showcased widely across Asia,Europe, and Australia, including major exhibitions in Japan, China, Thailand, Korea, India, Nepal, and Bangladesh. He has received numerous national and international awards such as the 26th Berger Young Painters’ Award (2022), Excellent Works Award, COP15 Global Art & Design Competition, China (2022), 2nd International Print Biennale Award, India (2021), and the Shilpacharya Zainul Abedin Award (2019). Mazumder’s works are part of collections at the China Printmaking Museum, Ino-cho Paper Museum (Japan), Bengal Foundation, and Lalit Kala Academy (India). He has also participated in several artist residencies, including the Chitrashala International Artist Residency in India and Kali Artist Residency at Cosmos Atelier 71, Bangladesh. Currently, Mazumder continues to experiment with layers of print, texture, and form to reflect the subtle interplay between the visible and the unseen. Through this exhibition, Shakil opens a new doorway not only to beauty but also to perception. His works, imprinted with the labor of hand-carved marks on solid wood surfaces, unfold into a poetry of light and shadow. This exhibition is part of Gallery Plat-forms’ commitment to presenting Bangladeshi artists who bring together heritage and contemporaneity, offering them anew to the global stage. Written by Tasmiah Chowdhury Photo Credits Sarmin Akter lina Gallery plat-Forms
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National SME Product Fair begins today
The curtain rises today on the 12th National SME Product Fair, a flagship exhibition spotlighting the rapid expansion of Bangladesh’s small and medium enterprise sector. The event, organised by the SME Foundation, has become a cornerstone of the country’s entrepreneurial calendar, offering a platform where innovation, tradition, and business ambition converge. The SME Foundation, which is steering the initiative, underscored its ambitions to widen market reach, accelerate innovation, and strengthen the country’s entrepreneurial base. Officials emphasise that the fair is not merely a showcase of products but a comprehensive programme designed to connect entrepreneurs with consumers, investors, and policymakers, thereby strengthening the ecosystem that sustains small and medium enterprises. The eight-day programme is being staged at the Bangladesh-China Friendship Conference Centre in Sher-e-Bangla Nagar, Dhaka, drawing participants from across the nation’s diverse business landscape. Organisers expect a vibrant atmosphere, with stalls and exhibitions reflecting the creativity and resilience of entrepreneurs from every corner of the country. More than 350 small and medium enterprises are set to participate in this year’s exhibition, with women-led ventures accounting for roughly 60 percent of the total. This strong representation highlights the growing role of women in Bangladesh’s SME sector, a trend that has been steadily gaining momentum over the past decade. The stalls will represent a broad spectrum of industries, ranging from garments and traditional crafts to leather goods, agro-based processing, ICT solutions, light engineering, and herbal commodities. Such diversity underscores the sector’s contribution to industrial diversification and inclusive growth. Financial inclusion is another key focus of the fair. The organisers said the event has been designed to advance access to finance, with daily sessions pairing entrepreneurs and bankers. Close to 30 banks and financial institutions will be present to advise business owners on securing SME credit facilities. In certain cases, loan applications may even be processed directly at the venue, offering entrepreneurs immediate opportunities to expand their businesses. Knowledge exchange will also be a central feature, with six specialised seminars scheduled between December 8 and 10. Discussions will address export diversification, innovation strategies, halal certification standards, intellectual property protection, blended financing models, and the development of a skilled workforce. Organisers say these sessions are intended to equip entrepreneurs with regulatory, technical, and financial insights essential for long-term growth. Officials emphasise that the initiative is designed not only to showcase domestic products but also to equip SMEs with the tools, knowledge, and financing opportunities needed to scale up in a competitive environment—both locally and internationally. “Many SME entrepreneurs face challenges in marketing their products despite high-quality production. This fair serves as a platform to bridge that gap,” said Md Musfiqur Rahman, chairperson of the SME Foundation. A key highlight of the fair will be the presentation of the National SME Entrepreneur Awards 2025, recognising six outstanding entrepreneurs in the micro, small, medium, and startup categories. These awards are intended to celebrate excellence, inspire others, and highlight the transformative potential of SMEs in Bangladesh’s economy. Since its inception in 2012, the SME Foundation has organised 11 national and 93 regional fairs, supporting over 5,000 entrepreneurs. According to the foundation, past fairs have generated Tk 57 crore in direct sales and Tk 93 crore in product orders, demonstrating the tangible economic impact of such initiatives. The event’s chief patron is The City Bank, with other sponsors including BRAC Bank, Eastern Bank, Bank Asia, IDLC Finance, LankaBangla Finance, United Finance, and IPDC Finance. Their involvement reflects the growing interest of financial institutions in supporting SMEs, which are widely recognised as engines of job creation and innovation. Only locally produced goods will be allowed for display and sale, with no foreign or imported items permitted. This policy ensures that the fair remains a platform dedicated to promoting domestic industries and encouraging consumers to support homegrown businesses. By combining exhibition, financial support, training, and policy dialogue, the fair continues to position itself as a key national initiative to elevate Bangladesh’s SME ecosystem—a sector seen as crucial for job creation, inclusive growth, and industrial diversification. The fair will remain open to visitors until December 14, from 10 am to 9 pm daily—with no entry fee. Written By Nibir Ayaan
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Bangladesh: Asia’s Next Trade Powerhouse
Bangladesh is quietly rewriting its economic story. Once known primarily for its ready-made garments, the country is now emerging as a diversified trade hub in Asia. Its export basket is expanding—and so is its global relevance. Earnings from exports have always been the nation’s driving force, and the last fiscal year was no different. Apparels played a dominant role, earning $48 billion, while other sectors also expanded their global reach. “Bangladesh’s export basket did not widen overnight—it was hard-won,” said Moynul Islam, president of the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA). “And now Bangladesh is home to a vibrant young population—more active and intelligent than their predecessors,” said Islam, who also serves as vice chairman of Monno Group. “From ceramics to garments, pharmaceuticals to electronics, this generational shift is redefining the business landscape and accelerating new export frontiers, positioning Bangladesh as one of Asia’s most promising investment and trade destinations,” he added. RMG : The Backbone of Bangladesh’s Trade Garments remain Bangladesh’s strongest export pillar, contributing over $39 billion in FY2024-25 knitwear and woven categories combined. Knitwear alone earned $21.1 billion, while woven garments brought in $18.1 billion, according to data from the Export Promotion Bureau (EPB). The sector’s strength lies in its scale and adaptability. Bangladesh retained its position as the world’s second-largest apparel exporter in 2024, as confirmed by the Bangladesh Garment Manufacturers and Exporters Association (BGMEA). Exports to non-traditional markets are rising, and shipments to the USA grew by 29 percent between January and April 2025. Yet, the industry faces headwinds. Rising production costs, energy inefficiencies, and compliance pressures are squeezing margins. Extortion in industrial belts and loan defaults among top exporters have also raised concerns, as noted by Bangladesh Bank. To stay competitive, the sector is embracing green manufacturing and automation. Over 260 factories are now LEED-certified, and green factories enjoy tax incentives and higher buyer preference. With continued investment in sustainability and worker welfare, RMG is poised to remain Bangladesh’s trade anchor. Home Textile: The Quiet Climber Once a niche category, home textiles have become Bangladesh’s second-largest textile export segment. The sector continued growing despite global challenges, earning $871 million in the last fiscal year. The rise of wellness living and interior-focused consumption has boosted demand for bed linens, curtains, and towels. Bangladesh’s manufacturers are responding with eco-friendly fabrics and design-led collections. However, the sector remains vulnerable to tariff uncertainties, especially in the US market. To mitigate this, the Bangladesh Knitwear Manufacturers and Exporters Association (BKMEA) recommends diversifying export destinations and investing in design innovation. With stable growth and rising global demand for sustainable home goods, Bangladesh’s home textile sector is quietly climbing the ranks. Leather and Leathergoods: A Legacy in Transition Bangladesh’s leather sector has shown resilient performance, earning over $1 billion annually since FY2018-19. Once hailed as the country’s second-largest export earner, the sector has struggled with environmental compliance and infrastructure bottlenecks. Shipments of leather and leathergoods have slowed due to delays in setting up the Central Effluent Treatment Plant (CETP) in Savar, said Arifur Rahman Chowdhury, general manager of ABC Footwear Industries Ltd, a concern of Abedin Group. “Without the CETP, many tanneries fail to meet global environmental standards, particularly the Leather Working Group (LWG) certification required by most European buyers,” he noted. Chowdhury added that the CETP’s completion would resolve nearly 80% of the sector’s challenges. Still, there is hope. According to the Leather Goods and Footwear Manufacturers & Exporters Association of Bangladesh (LFMEAB), 80 percent of exports go to just 10 countries—highlighting the potential for market expansion. With renewed focus on compliance and branding, leather could reclaim its place as a premium export. Frozen and Live Fish: The Blue Economy Awakens Bangladesh’s quiet revolution in aquaculture has made it a regional leader in sustainable fish farming. The country’s fisheries sector earned around half a billion US dollars in the last fiscal year, reflecting steady demand for shrimp, pangasius, and tilapia. Bangladesh Bank and the Ministry of Fisheries are working on improving traceability and certification standards. Yet, export volumes remain modest due to quality inconsistencies and limited cold-chain infrastructure. With rising global interest in clean protein and sustainable seafood, Bangladesh’s fish exports could scale rapidly—if supported by investment in logistics and branding. Empowering smallholder farmers with training, digital tools, and access to finance could unlock further growth. Strengthening community-based hatcheries and eco-friendly practices would ensure sustainability, while coordinated branding could position Bangladesh as a trusted global seafood supplier. Agricultural Commodities: A Sleeping Giant Agricultural exports brought in just over $1 billion in FY2024-25, led by fruits, vegetables, and processed foods. Mangoes, in particular, saw a rebound thanks to improved quality and packaging. However, the sector suffers from fragmented supply chains and slow policy support. Export growth has been inconsistent, and agricultural products face steep competition from regional players. The Ministry of Agriculture and EPB are now focusing on diaspora-driven demand and organic certification. Digital platforms for farm-to-market linkages, real-time price data, and quality monitoring could reduce inefficiencies and empower growers. Strategic partnerships with private investors and international buyers would further enhance competitiveness, ensuring that Bangladesh’s produce earns recognition in premium global markets and that agri-exports become a major growth engine. Pharmaceuticals: The Next Frontier Bangladesh now exports medicines to more than 160 countries after meeting 98 percent of its domestic demand, including shipments to highly regulated markets in Europe and North America. Pharmaceutical exports have nearly doubled in recent years to about $215 million, driven by WHO-compliant manufacturing facilities and competitively priced generic formulations. According to Md Zakir Hossain, secretary general of the Bangladesh Association of Pharmaceutical Industries (BAPI), exports could have easily surpassed the one-billion-dollar mark if not for a series of global setbacks, including the Covid-19 pandemic, the Ukraine–Russia war, and the ongoing devaluation of the Taka against
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Energy Crisis Pushes Ceramic Industry to the Brink
Bangladesh’s ceramic industry is facing one of its toughest periods in decades, as soaring gas prices and unstable energy supply strain production and profitability. Between 2015 and 2023, gas prices in the manufacturing sector surged by about 345 percent, including a 150 percent hike in 2023 alone. This escalation has raised production costs by 18-20 percent, since gas serves as both a key energy source and raw material. Yet, producers cannot freely increase prices due to competition from cheaper imports, forcing many factories into losses. The government is now considering another 152 percent gas price hike, which could raise rates to Tk 30-75.72 per cubic meter, further lifting costs by 30-35 percent and impacting other major sectors. Unstable Gas Supply and Factory Shutdowns For ceramic producers, a consistent gas supply is vital, as the industry depends on a 24-hour flow at steady pressure—around 15 PSI—for uninterrupted kiln operation. In reality, however, gas pressure often drops to 2–3 PSI or even zero, halting production. Despite paying full rates, factories in hubs such as Savar, Dhamrai, Rupganj, Tongi, Gazipur, Narsingdi, and Mymensingh face frequent disruptions, with 20–25 units affected daily, causing losses of about Tk 20 crore and export order cancellations. BCMEA President: The Sector Is Under Severe Pressure “Currently, the country’s ceramic manufacturers are grappling with a sharp decline in sales and rising production costs amid unstable gas supply and a sluggish construction sector,” said Moynul Islam, president of the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA). He explained that gas shortages and high fuel costs have pushed production expenses up by 18-20 percent, forcing many factories to reduce output and offer deep discounts just to stay in business. “The ceramics sector is under severe pressure,” he said. Islam highlighted that the industry plays a crucial role in employment generation and foreign exchange earnings. “Lead (Pb) and Cadmium (Cd)-free tableware and affordable sanitary ware are essential for modern living. Bangladesh needs affordable tiles, tableware, sanitary ware, and ceramic bricks to meet domestic demand and support our $1 billion monthly foreign currency inflow. This prominent sector employs millions and still has scope for further investment.” “When gas supply drops, factories switch to alternative fuels, which significantly increase costs. Profit margins have shrunk, and some producers are even running at a loss,” he added. According to BCMEA estimates, sales of tiles, sanitary ware, and tableware have fallen by 15-40 percent since mid-2024. “After the fall of the Awami League government during the ‘July Uprising’ last year, the artificial economic bubble burst, weakening demand for construction materials. Many projects slowed, and the private housing market cooled. As a result, factories are operating well below capacity, with unsold goods piling up in warehouses,” said Islam. He added that the entire construction value chain—including cement, steel, and ceramics—has been affected by the broader economic slowdown. “If development projects regain momentum and gas supply stabilises, the market will gradually recover. We expect business confidence to return once these challenges are addressed,” the BCMEA president said. Energy Sector Woes Compound the Crisis Shafiqul Alam, lead energy analyst for Bangladesh at the Institute for Energy Economics and Financial Analysis (IEEFA), said all industrial sectors, including ceramics, are suffering due to energy supply disruptions or reduced supply. “Bangladesh’s growing reliance on the international fossil fuel market—now accounting for about 56 percent of total energy supply—has made the system highly vulnerable to global price shocks,” he said. Although energy efficiency has improved in industries, there is untapped potential too. Further, transmission and distribution losses in the gas sector remain significant. “Had these losses been minimized, the gas shortage facing industries could have been slightly reduced,” Shafiqul noted. He added that despite several gas price hikes at industrial levels, supply to industries remains insufficient. For the ceramics industry, he recommended improving kiln efficiency and enhancing energy efficiency in captive power generation by utilizing waste heat to cut energy use and costs. Fiscal and Policy Burdens Beyond the gas crisis, the ceramic industry faces additional challenges from import delays, high raw material costs, and steep bank interest rates. Compounding these pressures are additional duties—currently 15 percent on locally made tiles and 10 percent on sanitary ware—that make domestic products less competitive. Industry leaders argue that these duties are counterproductive, as ceramic goods are no longer luxury items but basic necessities for hygienic living. High taxes, they warn, may deprive citizens of affordable sanitation products and undermine the government’s “Sanitation for All” initiative. The BCMEA has urged policymakers to refrain from further gas price hikes for industrial users, ensure uninterrupted gas supply at stable pressure levels, and withdraw additional duties on local ceramic products. Policy and Renewable Solutions Dr. Masrur Reaz, chairman of Policy Exchange Bangladesh (PEB), believes the ceramic sector still holds “immense potential,” but supportive policies are crucial. “Despite skilled workers, a growing domestic market, and strong international demand, the industry has yet to reach its full potential due to unsupportive policies,” said Dr. Reaz. “Even with modern technology and efficient management, factories suffer daily losses when gas pressure drops or supply is disrupted. Additional duties also make local products less competitive than imports.” He urged the government to recognise the industry’s strategic role in employment, exports, and infrastructure. “Practical steps—such as halting further gas price hikes, ensuring stable supply, and reviewing duties on local tiles and sanitaryware—are essential to stabilise the sector.” Dr. Reaz also advocated renewable energy as a sustainable solution. “Installing solar panels on rooftops or open land allows ceramic manufacturers to generate their own power, reduce gas dependence, cut costs, and promote eco-friendly production.” He noted Bangladesh’s strong export potential, especially in South Asia, the Middle East, and the United States, where tariffs are more favourable. “Removing internal barriers, fostering innovation, and expanding exports can unlock the industry’s full
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MADE IN BANGLADESH: Homegrown Champions of Change
Bangladesh’s meteoric rise in the global garment industry has long been admired, and now a deeper transformation is underway — one that reflects diversification, resilience, and ambition. Amid global supply chain realignments and rising manufacturing costs in East Asia, Bangladesh has emerged as one of the world’s most export-ready economies. But beyond the looms and threads, “Made in Bangladesh” businesses are stepping into the spotlight — from green technology and agribusiness to pharmaceuticals and consumer goods. It’s time the world pays closer attention to the homegrown brands proudly carrying the “Made in Bangladesh” label. The list is far from exhaustive, as Bangladesh is home to many more brands that deserve global recognition. In this special feature, we bring into focus five companies and visionaries who have not only grown with the country but have also redefined what it means to be a “Made in Bangladesh” business. From expanding beyond borders to competing with international players, their journeys reflect the spirit of a nation that refuses to be boxed in. A common thread binds them all — a relentless desire to rise despite the odds. To begin the story, there is none other than Anis Ud Dowla, the visionary chairman of ACI Group. A pioneer in every sense, Dowla represents the kind of leadership that has helped redefine the possibilities of Bangladeshi enterprise. Next comes Hossain Khaled, Chairman of City Bank. This visionary banker played a crucial role in transforming a struggling bank with weak financials into one of the top lenders in the country. From the travel and tourism field, Sadia Haque — co-founder and CEO of ShareTrip — steals the spotlight with her innovations in the sector. The full-stack travel solutions her firm offers have brought about a massive change in the tourism landscape of Bangladesh. No story on Bangladesh would be complete without mentioning Ahsan Khan Chowdhury, chairman and CEO of Pran-RFL Group — a perfect example of how a legacy can be nurtured and turned into an empire. And last but not least, Walton Hi-Tech Industries PLC — the first Bangladesh-origin company to ship electrical and electronic appliances to international markets — stands as a testament to the nation’s growing industrial prowess. Let’s explore the trailblazers behind the “Made in Bangladesh” renaissance. A Beacon of Principled Leadership In Bangladesh’s corporate history, few names command as much respect as M. Anis Ud Dowla. At a time when business and politics often converge, Dowla has carved a distinct path—one rooted in ethics, innovation, and an unwavering commitment to national progress. His career began not in boardrooms but in the field, as a young executive with British Oxygen. Over nearly three decades, he rose through the ranks, managing operations across Pakistan, Kenya, and Bangladesh. That global exposure laid the foundation for a leadership style defined by experimentation and efficiency. The defining moment came in 1992, when Imperial Chemical Industries (ICI) offered him a chance to take over its Bangladesh operations. The deal was unconventional: a “pay-as-you-earn” arrangement that required no upfront capital. Dowla accepted, and Advanced Chemical Industries (ACI) was born. “The beginning was challenging, but I made sure that no matter what, I would remain fair to my workers,” Dowla said. “I assured them that they would receive a fair share of the benefits for the efforts they were putting in. It was a 60:40 profit-sharing arrangement between the investors and workers. And it paid off.” From modest beginnings with just 352 employees, ACI has grown into one of the country’s largest conglomerates, now employing over 30,000 people across 29 subsidiaries. Its portfolio spans pharmaceuticals, consumer goods, agribusiness, and logistics. Under Dowla’s leadership, ACI became the first Bangladeshi company to earn ISO 9001 certification, setting a benchmark for quality and transparency. “I wanted to have a guardian who would ensure that there was no compromise in quality. The ISO certificate did that for me. They used to visit ACI, conduct audits, and help me produce quality products every time.” “I went for the certificate to fulfil my dream of remaining true to our customers and never deceiving anyone in any way.” Despite his success, Dowla remains grounded. His philosophy centres on values—quality, fairness, customer focus, and continuous improvement. These principles, he insists, are not slogans but lived realities within the company. Dowla’s views on politics are equally clear-cut. He believes that mixing business with political ambition undermines merit and compromises governance. “I strongly believe entrepreneurs should not enter politics, and politicians should not be entrepreneurs.” For Dowla, politics is a service, not a career path for entrepreneurs. At ACI, employees are treated as family. The ACI chairman sees leadership as a process of unlocking human potential. To young entrepreneurs, his advice is simple yet profound: pursue what you love, embrace failure as a lesson, and never settle for shortcuts. Even in his late eighties, Dowla remains active, drawing energy from ideas rather than rest. In an era of blurred boundaries and shifting values, Anis Ud Dowla stands as a beacon of principled leadership—an icon admired not just for what he built, but for how he built it. From Startup to Market Leader When Sadia Haque set out to build a travel platform, her vision was rooted in something deeper than bookings and itineraries. “We wanted a travel tech platform where everything would be shared,” said the ShareTrip CEO and Co-Founder. “Sharing of adventure, sharing of experience, sharing of laughter, and sharing of joy. And from that perspective, the name came as ShareTrip.” That philosophy of connection would go on to shape one of Bangladesh’s most successful digital ventures. Drawing on her background in telecoms, media, and technology, Haque channelled over a decade of corporate experience into a startup that would soon redefine how the country travels.
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Architect Marina Tabassum A Rare Brilliance
Architect Marina Tabassum has carved a luminous path that transcends architecture and redefined design as a language of place—rooted in climate, culture, and community. Her Bait Ur Rouf Mosque, completed in 2012, became a global milestone when it earned the Aga Khan Award for Architecture in 2016. In 2025, she achieved the rare distinction of winning the Aga Khan Award again, this time for Khudi Bari. Her brilliance extends far beyond these awards. Tabassum has designed the Museum of Independence, Panigram Eco Resort, Hamidur Rahman Memorial Complex, and Comfort Reverie, each reflecting her mastery of rhythm, sustainability, and memory. Internationally, she was commissioned to design the Serpentine Pavilion in London. Marina studied architecture at the Bangladesh University of Engineering and Technology (BUET) and founded her own firm, Marina Tabassum Architects (MTA), in 2005. She has taught at renowned institutions worldwide: Professor at the Technical University of Delft (2022–23), Gerald Sheff Visiting Chair at the University of Toronto, and lecturer at the Harvard Graduate School of Design, University of Texas, Bengal Institute, and BRAC University. Her work has earned numerous international accolades, including an honorary doctorate from the Technical University of Munich, the Arnold Brunner Memorial Prize from the American Academy of Arts and Letters, the Gold Medal from the French Academy of Architecture, and the Soane Medal in Architecture from the United Kingdom. She chairs FACE (Foundation for Architecture and Community Equity) and Prakriti, a fair‑trade organization, and is a fellow of the Royal Society of Arts. Between 2017 and 2022, she served on the Steering Committee of the Aga Khan Award for Architecture. Her accolades span continents: TIME 100 (2024), Chevalier of Arts and Letters (2023), UIA Vassilis Sgoutas Prize (2023), Jameel Prize (2018), and Prospect’s Top Ten Thinkers (2020). Bait Ur Rouf Mosque In the northern edge of Dhaka, beside the Turag Canal, the Bait Ur Rouf Mosque rises as a beacon of simplicity, spirituality, and environmental consciousness. Designed by Marina Tabassum in 2006, the project was deeply personal—commissioned by her grandmother, who donated the land. The mosque rejects ornamentation, instead embracing perforated brickwork that allows natural light and ventilation to animate the prayer hall. This environmentally friendly approach is rare in Bangladesh, where mosques often rely on artificial cooling and lighting. Here, light itself becomes the architecture—shifting with the hours of prayer, creating atmospheres of contemplation and serenity. Tabassum’s design responds to both urban transformation and community needs. As Dhaka’s sprawl consumed open spaces, she envisioned the mosque as more than a place of worship: a plinth and gathering space for dialogue, reflection, and social interaction. Rooted in Islamic tradition, where mosques historically served multiple civic functions, the building reclaims that identity for modern times. The prayer hall, rotated to align with the qibla, is supported by eight columns and wrapped in load‑bearing brickwork, balancing cost efficiency with timeless strength. Awarded the Aga Khan Award for Architecture in 2016, Bait Ur Rouf Mosque stands as a model of climate‑responsive, community‑driven design—an enduring testament to the power of light, space, and faith. Khudi Bari In Bangladesh’s fragile deltaic landscape, where rivers shift and floods displace thousands, Marina Tabassum envisioned Khudi Bari—a self‑initiated experiment that has grown into a global model of resilience. Meaning “small house,” the lightweight, modular shelter is built from bamboo and corrugated metal, designed to be assembled quickly, relocated easily, and withstand the pressures of a volatile climate. What began as a modest idea has transformed lives across chars, floodplains, and refugee camps. Families who once lost everything to river erosion now remain together during disasters, a safeguard against child marriage and trafficking. In Rangpur, when surrounding homes collapsed in a storm, Khudi Bari units stood firm. The design’s impact extends beyond Bangladesh. The Vitra Design Museum in Germany acquired a Khudi Bari for its permanent collection, while the World Food Programme commissioned Tabassum to adapt the system for Rohingya refugee camps in Cox’s Bazar. There, Khudi Bari evolved into women‑friendly community centres, food distribution outlets, and “Shantikhana” or Houses of Peace—spaces for education, livelihood, and healing. Awarded the Aga Khan Award for Architecture in 2025, Khudi Bari is more than shelter. It is architecture as empathy—an elegant, low‑cost structure that restores dignity, strengthens communities, and redefines how design can serve humanity. To honour the brilliance and achievements of Architect Marina Tabassum, Ceramic Bangladesh Magazine, a publication of the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA), in partnership with ArchiConnect—the first and largest digital platform for architects and professionals in the construction industry in Bangladesh—organised a grand event at the Renaissance Dhaka Gulshan Hotel on November 8. Architect Moushumi Ahmed moderated the beautifully crafted night, attended by the country’s leading architects, real estate and construction industry leaders, and media personnel. In his opening remarks, Architect Jalal Ahmed, FIAAB, KIA, founder and CEO of ArchiConnect, said: “Winning the Aga Khan Award for Architecture—often referred to as the ‘Oscar of architecture’—was no accident. It is the result of her deep thinking, clarity of perspective, and unwavering ethical commitment.” PANEL DISCUSSION The grand event had a panel discussion featuring the country’s top architectural minds. Architect Mahmudul Anwar Riyaad, principal designer and director of DWM4 Architects, moderated the session, opening with the question of how the Aga Khan Awards had affected architects during the 1980s. Architect Fuad Hassan Mallick, professor and dean of the School of Architecture and Design at BRAC University, recalled the surprise of the first award cycle: “I personally felt that architecture’s spectrum is much larger than what we understood—and also it seemed relevant for our country. This sort of thing ended up being number one for many of us. After that, when Mimar magazine appeared, we understood architecture is not only Western, American, and Europe‑centric. Something is there in our region also.” Architect Nahas Ahmed Khalil, principal designer of ARC Architectural Consultants, praised the honesty in Marina’s design
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Welcome to the World of Ceramics
Once a quiet corner of the industrial map, Bangladesh’s ceramic sector has sculpted its way into the spotlight. Over the past decade, the industry has witnessed an extraordinary 150 percent surge in both production and investment, transforming it from a modest manufacturing niche into a vibrant engine of growth. It’s a milestone that marks the rise of a sector now central to the country’s architectural identity. That journey now enters a new chapter with the return of Ceramic Expo Bangladesh 2025, the flagship event of the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA). From November 27 to 30, the International Convention City Bashundhara (ICCB) in Dhaka will transform its Pushpanjali – Hall 5 into a showcase of ceramic excellence—bringing together over 136 exhibitors, 300 brands, and more than 25,000 visitors under one roof, with the support of the Export Promotion Bureau (EPB), Techna, ASEAN Ceramics, Keramika Indonesia, and Ceramic China. Now in its fourth edition, the expo has grown into one of South Asia’s most influential B2B platforms, drawing over 500 foreign delegates and participants from 25 countries. “This is Bangladesh’s only international exhibition dedicated to ceramics,” said Irfan Uddin, general secretary of BCMEA and chairman of Ceramic Expo Bangladesh. “With 31 local manufacturers and 105 global exhibitors, the expo creates unmatched opportunities for partnership, investment, and growth.” From raw materials to robotics, from sustainable kilns to smart design, the expo promises a panoramic view of what’s next in ceramic innovation. GLOBAL AND LOCAL EXHIBITORS The 2025 edition of the ceramic expo has a long list of local and foreign exhibitors. Every local ceramic company will join the show, along with international participants—most of which are raw material, machinery, or tech suppliers. Every participant of the expo has high hopes for Bangladesh’s ceramic industry. Kutubuddin Ahmed, chairman of Sheltech Ceramics Ltd, said the ceramic industry in Bangladesh is entering a new era driven by talent, quality, and a growing domestic market. “Ceramic Expo Bangladesh 2025 is the perfect platform to experience this progress.” Leading Chinese company Foshan HLT & DLT Technology Co. Ltd also believes ceramics have every potential to be the next big export earner for Bangladesh, said Marco Guan, deputy managing director of HLT & DLT and chairman of DLT, a supplier of engineering design, machinery, and technical know-how. Sacmi Imola S.C. (SALA), a global ceramic technology leader, sees Bangladesh’s strong entrepreneurial spirit and technical expertise as key to becoming a global hub. Despite challenges like energy costs, infrastructure gaps, and banking inefficiencies, local ceramic companies show resilience, long-term vision, and a focus on quality over price wars, the company said. SPONSORS Leading local ceramic company Sheltech Ceramics Ltd is the principal sponsor of this year’s Ceramic Expo, while there are three platinum sponsors: DBL Ceramics Ltd, Akij Ceramics Ltd, and Meghna Ceramic Ind. Ltd. The 2025 edition has four gold sponsors: Mir Ceramic Ind. Ltd and Abul Khair Ceramic Ind. Ltd from the local market, and Sacmi Imola S.C. (SALA) and Foshan HLT & DLT Technology Co., Ltd. from the foreign market. FOUR DAYS OF CERAMIC ACTIVITY “At Ceramic Expo Bangladesh 2025, local technicians will directly engage with global exhibitors to find real-time solutions,” said Moynul Islam, president of BCMEA. “It’s the world’s only trade fair uniting both Chinese and European ceramic giants under one roof.” Dealers’ Night One of the standout moments at Ceramic Expo Bangladesh 2025 will be the Dealers’ Night, a grand gathering designed to celebrate the people who carry the industry’s story to every corner of the country. More than just a networking event, Dealers’ Night will serve as a recognition of the sales leaders, distributors, and retail partners who bridge the gap between manufacturers and consumers. The evening will bring together over 200 dealers, sales professionals, and more than 20 industry leaders from across Bangladesh, creating a vibrant forum for exchange, collaboration, and celebration. It is here that the industry’s “deal-breakers” will share experiences, discuss market trends, and explore strategies to expand the reach of Bangladeshi ceramics both locally and globally. The BCMEA is organising the event with a clear vision: to honour the dealers and salespersons as the torchbearers of the ceramic industry. Their role is not limited to transactions; they are the storytellers who translate innovation into demand, and the ambassadors who ensure that Bangladesh-made ceramics find their way into homes, offices, and institutions. Seminars Every day at Ceramic Expo Bangladesh 2025 won’t just be about booths and business cards—it’ll be buzzing with ideas. Alongside the packed exhibition halls, multiple seminars will dive into the real issues shaping the future of Bangladesh’s ceramic industry. With over 70 manufacturers investing nearly $2 billion and more than 60,000 people directly involved, these conversations matter. From energy costs to export hurdles, topics that often go unheard will finally take center stage—thanks to open discussions between industry leaders, policymakers, and professionals. The seminars are: Energy Efficiency Strategies for Industry in Bangladesh: Challenges and Opportunities This seminar will explore how Bangladesh’s ceramic industry can adopt renewable energy, improve efficiency, and reduce costs. Experts will highlight practical solutions, policy frameworks, and global best practices to ensure sustainable growth amid rising energy challenges. Skills Development for Sustainable Growth in Industry Focused on workforce transformation, this session will examine training, technical education, and innovation-driven skill sets. Industry leaders and policymakers will discuss how nurturing talent can strengthen competitiveness, empower youth, and secure long-term sustainability for Bangladesh’s ceramic sector. Global Market Strategies: Challenges and Opportunities for Ceramic Products This seminar will analyze export diversification, branding, and competitiveness in international markets. Discussions will address trade barriers, logistics, and evolving consumer preferences, while showcasing strategies to position Bangladeshi ceramics as a global leader in quality and innovation. B2B / B2C Meetings The fair will offer ample space for B2B and B2C meetings, enabling local and global
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How Bangladesh’s Interiors Got Smarter, Greener, Better
Over the past decades, Bangladesh’s interior sector has undergone a steady evolution. This progressive transformation in design trends and practices is significant across all sectors, including residential, industrial, healthcare, hospitality, retail, and commercial spaces. Rapid urbanisation, economic growth, globalisation, cultural exposure, and growing concern for sustainability are the major forces driving the interior design shift. Changing Residential Interior As urbanisation accelerates, a gradual shift in housing typology has emerged. Traditional single-storey houses and bungalows are being replaced by denser urban structures and micro-apartments, particularly in major cities such as Dhaka and Chittagong. As a result, residential units are now designed with more compact and efficient layouts. To maximise functionality, designers incorporate space-saving solutions, including wall-mounted shelving, built-in storage, and modular furniture. As plots shrink and outdoor gardens become scarce, balconies and terraces are being converted into green oases that help bring nature indoors. In terms of design styles, interior spaces now reflect greater diversity, ranging from minimalist and modern to contemporary and fusion. Collectively, these factors are redefining residential interiors as more functional, sustainable, and visually harmonious. Shift in Commercial Design In the early to mid-20th century, commercial interiors were formal and compartmentalised, with enclosed rooms and long corridors. Materials such as wood and marble were used to convey permanence and formality. By the late 20th century, the rise in corporate culture and global trends led to the emergence of open-plan layouts. Rigid walls began to be replaced by glass partitions that fostered communication and a transparent working environment. From the 2010s onward, corporate interiors started to prioritise sustainability and employee wellbeing. Concepts such as biophilic design and eco-friendly materials, including reclaimed wood and recycled components, are now being incorporated to improve air quality. The Decathlon’s Dhaka office designed by Studio One Zero, is a perfect example of a workspace that blends nature and smart design seamlessly. “What truly distinguishes the office space is its deliberate, sensitive incorporation of natural elements into an urban setting. We wanted the overall design to be meaningful and experiential” ,says Jafor Hoq, chief architect of Studio One Zero. Embracing Tech-led Designs Bangladesh’s industrial interiors—especially in RMG, tanneries, food processing, and other sectors—have drastically changed over the past 50 years. Early factories were built with tight production floors, poor lighting and ventilation, and minimal worker amenities. As industries began to rise, manufacturers moved towards vertical integration (cutting, dyeing/finishing, warehousing, R&D/sample rooms). This initiative introduced a major shift in industrial interiors; however, worker facilities remained basic. The Rana Plaza collapse in 2013 led to a surge of inspections and safety retrofits, resulting in changes to fire safety systems, marked aisles, medical rooms, and improved workstation ergonomics. New industries now increasingly integrate life-safety upgrades (fire doors, fire escape signage), clear zoning, and worker-welfare blocks (cleaner toilets, canteens, and childcare rooms). Energy-efficient LED lighting, water-saving fixtures, and other green building strategies are being adopted. According to the Bangladesh Garment Manufacturers and Exporters Association (BGMEA), the country boasts 258 LEED-certified factories, including 109 Platinum and 133 Gold-rated facilities. Institutional interiors in Bangladesh have also undergone significant transformation, shaped by both local and global design trends in architecture, technology, and educational philosophy. Earlier universities featured classic, colonial-style architecture, such as the University of Dhaka. Over time, university interiors shifted towards creating more flexible and student-centric spaces. Classrooms today are equipped with modern technologies such as multimedia projectors and smartboards. Moreover, charging stations and internet access points are being integrated into common spaces—libraries, lounges, and cafeterias. Sustainable design practices have become one of the most significant considerations over the decades. For example, BRAC University has incorporated biophilic design principles, eco-friendly materials, and energy-efficient systems. The university adopts modern colour schemes and diverse textures, along with more student-friendly amenities that promote collaboration and creativity. Hospitality and Public Spaces Blending Global Aesthetics Early hotels (during the 1960s–1980s) in Bangladesh prioritised functionality over aesthetics, often shaped by a colonial-modern architectural approach. Interior layouts were formal, with minimal ornamentation and durable finishes such as terrazzo floors and simple wooden or rattan furniture. In the 1990s–2000s, with the arrival of international brands, interiors shifted towards a contemporary design approach. Spaces became more refined, introducing upgraded amenities, grand lobbies and ballrooms, and heavy use of imported finishes and materials. A significant example of a luxury hotel is the new Sheraton Dhaka, designed by Volumezero Ltd. It features grand lobbies and banquets, lavish dining venues, and premium materials and finishes. From 2010 onwards, hotel and resort design began to blend local cultural elements with global contemporary styles. This includes the use of local craftsmanship, textiles, motifs, and artwork. Sustainable materials such as bamboo and jute, along with natural textures like wood finishes and earthy plasters, are now extensively used. Public spaces such as airports in the early period focused primarily on practicality and functionality. For example, the old Tejgaon Airport and early Hazrat Shahjalal International Airport (HSIA) featured simple layouts with limited amenities. With gradual modernisation, airport interiors began to prioritise passenger comfort. Duty-free shops, cafés, lounges, and digital flight displays have been incorporated. From the 2010s to the present, design has integrated modern efficiency with local art and aesthetics. Elements include modern amenities (digital signage, self-scanners), imported materials, and sustainable finishes. A prominent example is HSIA Terminal 3, designed by architect Rohani Baharin. The design incorporates modern minimalism and local cultural motifs, highlighting clean, light-toned finishes, large open spaces, and high vaulted ceilings with an eye-catching floral geometric motif. Natural lighting is emphasised, reducing dependence on harsh artificial lighting. Another prominent example in the transformation of public transport infrastructure is the new Cox’s Bazar Railway Station, designed by Volumezero Ltd. The transportation hub has evolved from a functional terminal into a high-end passenger experience. “We aimed to depart from the traditional notion of railway stations being merely standard
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BANKS BRUISED but Still Standing Strong for Manufacturing
Bruised by inflation, foreign exchange volatility, and a surge in non-performing loans, Bangladesh’s banking sector has nonetheless held its ground — emerging as the country’s lone financial engine in a year of global and domestic disruption. With the capital market still lacklustre, banks have shouldered the full weight of financing both government and private enterprise, keeping the wheels of development turning. In 2024, the sector showed remarkable grit, navigating macroeconomic turbulence while maintaining liquidity and credit flow across industries. This resilience was not just structural — it was strategic. As investor sentiment cooled, the private sector leaned harder on banks, reaffirming their role as the backbone of Bangladesh’s economic recovery. Profits Surge as Six Banks Break Records Performance-wise, several private commercial banks surged ahead, with six institutions — BRAC Bank, Pubali Bank, Jamuna Bank, Bank Asia, Shahjalal Islami Bank, and Dhaka Bank — surpassing their entire 2024 profit figures within just the first nine months of 2025 — a testament to operational strength and depositor confidence. Combined, these banks earned Tk 7,411 crore from investments, mostly in treasury bonds — a roughly 70 percent increase from the previous year. Moreover, BRAC Bank and City Bank crossed the Tk 1,000 crore profit mark in 2024 for the first time in the country’s banking history, while others recorded their highest-ever earnings. Sustainability Ratings Reflect Governance Strength Recognizing this momentum, Bangladesh Bank named 10 banks and two non-bank financial institutions (NBFIs) as sustainable performers in its Sustainability Rating 2024. The banks include BRAC Bank, City Bank, Dutch-Bangla Bank, Eastern Bank, Jamuna Bank, Mutual Trust Bank, NCC Bank, Prime Bank, Pubali Bank, and Shahjalal Islami Bank. Among NBFIs, IDLC Finance and IPDC Finance retained their positions. These 12 institutions were evaluated across five key indicators: the sustainable finance index, CSR activities, green project financing, the core banking sustainability index, and banking services coverage. Banks with strong risk management, healthy capital adequacy, and low non-performing loans scored higher, while metrics like Tier-1 capital to risk-weighted assets, CMSME loan share, large-loan exposure, and agent banking reach added depth to the rankings. The sector also saw moderate asset growth, with total assets rising 9.65% in 2024 to Tk 26,29,775 crore — reversing declines from 2021 and 2022, according to the central bank’s Financial Stability Report. Liquidity remained sound, with the Advance-to-Deposit Ratio at 81.55% — well below the 87% ceiling — while strong deposit growth continued to fuel rising loan demand. In a year defined by uncertainty, Bangladesh’s banking sector didn’t just endure — it evolved. With sustainability, profitability, and resilience converging, it has reaffirmed its role as the country’s principal engine of financial stability and growth. Governance: The Line Between Success and Struggle “Some banks in the banking sector have performed very well, while others have done quite poorly,” said Syed Mahbubur Rahman, CEO and Managing Director of Mutual Trust Bank. “The main factor behind weak performance in some banks is governance — banks with better governance have performed better. Those where the Board of Directors interfered in day-to-day operations have not done well,” he said. On the other hand, banks that followed proper corporate governance practices have consistently performed well, and their non-performing loans have remained within limits, he added. The sluggish pace of NPL recovery has also contributed to the accumulation of NPLs. Additionally, the Russia-Ukraine war, global tensions, local currency depreciation, and other domestic economic challenges are straining business operations and reducing borrowers’ repayment capacity — further accelerating the banking sector’s NPLs in Bangladesh, according to Bangladesh Bank’s Financial Stability Report. Even though some banks have underperformed, the banking sector has made a major contribution to the economy — especially as the capital market remains small and its role in capital formation negligible, he said. The bond market is also nearly non-existent. Since independence, industrialisation, employment, and per capita income growth have been supported 80–90 percent by the banking sector, directly and indirectly, he clarified. Banks have facilitated letters of credit for trade, enabled remittance inflows, and provided refinancing during Covid-19. From agricultural loans to start-up financing, the sector has stepped in whenever funding was needed. Most CSR spending in the country also comes from banks. “The banking sector is definitely playing a significant role in overall economic activity,” he said. “The banks are contributing to sustainable finance too,” added Rahman, also a former president of the Association of Bankers, Bangladesh (ABB). Some banks are doing extraordinarily well in increasing their sustainable and green financing. Toufic Ahmad Choudhury, a former Director General (DG) of the Bangladesh Institute of Bank Management (BIBM), said that although there were high NPLs in the banking sector “under the carpet,” which were not previously disclosed, the poor health of some banks is now clear. “This is a positive sign that the problem of some banks is now diagnosed.” Most importantly, the central bank is focusing on the banking sector to ensure good governance in every bank. “It is another good sign that good governance is now being ensured across the sector,” he said. Regarding the merger of five banks, he said that if new leadership can boost public confidence and the government does not interfere unnecessarily, only then can the banks be revived. Depositor Confidence and the Road to Reform Banking sector deposits registered an average annual growth rate of 7.69 percent by the end of 2024, compared to 10.15 percent the year prior, according to Bangladesh Bank data. Deposit growth slowed mainly due to high inflation and a confidence crisis in several banks. Inflation in Bangladesh has hovered above 9 percent since May 2023, and stood at 8.36 percent in September 2025. Among asset managers who invest in bank shares and analyse their performance most closely is Mir Ariful Islam, CEO and Managing Director of Sandhani Asset Management. He said some banks saw significantly
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Real Estate in Bangladesh High Potential Mounting Challenges
Bangladesh’s real estate sector stands at a defining moment. With an annual housing demand of nearly 100,000 new apartments and rapid urbanisation, the sector holds enormous promise. Yet affordability, regulatory constraints, volatile economic conditions, and weak financing continue to hold it back. As cities like Dhaka and Chattogram sprawl under population pressure, a more inclusive, well-regulated, and investor-friendly environment is crucial to unlock the sector’s full potential. Industry leaders and analysts agree that timely reforms and coordinated strategies are vital for steering real estate towards sustainable growth. A Burgeoning Market Over the past two decades, Bangladesh has seen unprecedented urbanisation, driven by rural-to-urban migration. Dhaka alone absorbs around 300,000 new residents each year, fuelling soaring demand for both residential and commercial spaces. “We developers have the capacity to meet the entire demand,” said FR Khan, managing director of Building Technology and Ideas (bti). Yet the current supply meets only about 8 percent of annual demand, revealing both opportunity and inefficiency. At the same time, housing preferences are shifting. Buyers are seeking wellness-focused, eco-friendly and community-oriented living rather than plain apartments, reflecting changing lifestyles and higher expectations. Affordability and Rising Costs Homeownership remains out of reach for most middle-income families due to high borrowing costs. Mortgage rates of 12 to 13 percent make long-term loans unaffordable, while the standard 30 percent down payment blocks many aspiring buyers. In a high-inflation economy where daily living costs keep rising, saving for such an amount is nearly impossible. “Even those with stable jobs and moderate incomes can’t commit to housing loans due to high rates and economic uncertainty,” said M Hoque Faisal, director of sales and marketing at Tropical Homes Ltd. “What we need is a subsidised loan scheme for the middle class—say, at 5 percent interest.” Most banks cater to high-net-worth clients, leaving middle-income households with limited financing options. Without tailored financial products, millions remain excluded from the housing market. Rising construction costs and land scarcity have worsened the crisis. Fluctuating exchange rates and higher VAT and customs tariffs on materials such as steel, lifts, and cement have sharply pushed up costs. The taka’s depreciation against the US dollar has further compounded the problem. Land acquisition in urban areas is also becoming prohibitively expensive. “Shortage of land is making investors pay a fortune,” said M Mahbubur Rahman, CEO of Rupayan City. These twin pressures have squeezed developer margins and pushed housing prices even higher. Economic and Political Instability Real estate is highly sensitive to broader economic and political trends. Inflation, currency instability, and election-year uncertainty have all dampened investor confidence. According to Bangladesh Bank data, outstanding construction loans fell to Tk 1.23 trillion during April–June FY2024–25, down from Tk 1.26 trillion in the previous quarter. Residential housing loans for urban buyers dropped by 3.96 percent, while infrastructure loans declined by 2.05 percent. “Banks and developers are becoming increasingly cautious,” said economist Dr Masrur Reaz. “Commercial housing has shown resilience due to higher margins, but overall lending has slowed, signalling a contraction in the sector.” The DAP Controversy The Detailed Area Plan (DAP), introduced by Rajuk in 2022, has sparked heated debate among developers. The main concern is the Floor Area Ratio (FAR), which limits how many units can be built on a plot. “While the DAP is academically sound, it doesn’t account for the dense, historic nature of Dhaka,” said FR Khan. “It’s based on planning models from low-density, developed cities.” Since the DAP’s implementation, over 200 industries connected to real estate have been affected, according to the Real Estate and Housing Association of Bangladesh (REHAB). Landowners are increasingly reluctant to offer their property for joint ventures, citing reduced profitability under stricter zoning and height limits. REHAB has formally urged the government to revise the DAP to reflect Dhaka’s ground realities and revive sectoral momentum. Market Trends and Opportunities Even as high-end housing demand cools amid declining purchasing power, the mid-market segment is expanding. Many people are investing in real estate to hedge against inflation, viewing property as a safer long-term asset. Rental yields in Dhaka and Chattogram have remained relatively stable. The sector is also a major employment driver—ranking as the country’s third-largest employer—and supports industries such as cement, steel, transport, and home electronics. In 2020, the government’s policy allowing undeclared income to flow into real estate channelled over Tk 20,000 crore into the sector, generating Tk 2,000 crore in tax revenue. Sustainability: A Growing Focus Environmental awareness is reshaping real estate practices. The Bangladesh National Building Code (BNBC) now promotes energy-efficient designs, rainwater harvesting, and sustainable materials. Green-certified buildings appeal to climate-conscious buyers and help developers access international green financing. Policy Roadmap for Reform To unlock the sector’s full potential, experts call for coordinated action between the government and private developers. Home loans must become more affordable through lower interest rates, while fixed-rate mortgage options can shield buyers from rate volatility. Raising loan-to-value ratios would let buyers borrow a greater share of property value. Bangladesh Bank could introduce targeted credit lines for first-time and middle-income buyers to expand access to financing. Registration fees and stamp duties should be reduced to encourage participation in the formal housing market. Lower VAT and import duties on materials would cut construction costs. Tax rebates or subsidies for first-time buyers, especially from middle-income brackets, would make ownership more achievable. The DAP’s FAR and zoning rules need to better reflect Dhaka’s urban density. Increasing FAR in suburban and peri-urban areas would promote growth beyond the city centre, while planning models should align with Bangladesh’s infrastructure capacity and population dynamics. Investment in satellite towns equipped with schools, hospitals, markets, and transport links would ease pressure on Dhaka and Chattogram. Strengthening inter-city connectivity and ensuring public services and job opportunities outside major cities would support balanced regional development. Licensing and
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Bangladesh A Champion in Green Sustainable Manufacturing
Bangladesh’s garment industry, once marred by tragedy and global scrutiny, is now leading a quiet revolution in sustainable manufacturing. The world’s second-largest producer of readymade garments, the south Asian nation is currently home to the highest number of green factories in the world. The change did not come overnight. From being hit by twin disasters that damaged the country’s global image to emerging as a frontrunner in green production, the journey was far from smooth. From solar-powered facilities to water-saving technologies, local manufacturers have embraced environmental compliance not just to rebuild trust—but to redefine Bangladesh’s role in the global supply chain. A decade ago, in the wake of the Tazreen Fashion fire and the Rana Plaza collapse, the garment sector suffered a severe reputational blow. End consumers began chanting slogans against Bangladeshi garments, claiming the clothes were blood-stained, and started avoiding locally made apparel. As a result, both international clothing retailers and brands, as well as local manufacturers and suppliers, faced trouble as the inflow of work orders declined after the crisis. However, Western consumers’ buying behaviour was also changing at that time, as they began preferring products made with environmental protection in mind and in adherence to higher compliance standards. Retailers, brands, and local manufacturers capitalised on this green shift—primarily to restore the image of the apparel sector and, by extension, the country’s reputation among international communities and Western consumers. As part of this strategy, local manufacturers began greening their production facilities to convince Western consumers that Bangladesh adheres to international compliance standards in the garment trade. Moreover, there was pressure from international communities to reduce carbon emissions. Consequently, factories were built following guidelines from the US Green Building Council (USGBC), the body that certifies Leadership in Energy and Environmental Design (LEED) for environmental sustainability. Within a short span of time, Bangladesh saw the establishment of 263 LEED-certified factories, of which 111 are Platinum rated, 133 Gold, 15 Silver, and four Certified. The best part is that Bangladesh boasts 68 of the world’s top 100 highest-rated LEED-certified factories. Almost all top LEED-certified apparel manufacturing units are located in Bangladesh—a milestone that testifies to the vision and resilience of the country’s apparel entrepreneurs. This is not all. Over 500 more factories are currently awaiting certification from the USGBC. By investing in green buildings and sustainable practices, manufacturers are not only reducing environmental impact but also enhancing efficiency, cutting costs, and strengthening Bangladesh’s reputation as a responsible and forward-looking sourcing destination. Their commitment ensures that the industry remains globally competitive. Fazlee Shamim Ehsan runs one of the greenest garment factories in the world. He is the managing director of Narayanganj-based Fatullah Apparels Limited, which earned LEED Platinum certification from the USGBC with a score of 97 out of 110—one of the highest ever awarded globally in the apparel sector. Ehsan said: “Local manufacturers began building green garment factories primarily to improve the image of the sector and the country. Environmental protection has also become a crucial part of the global supply chain, particularly in reducing carbon emissions,” he added. “Manufacturers are not only greening their factories but also adopting new technologies. By greening their factories, they can reduce underground water consumption by 40 percent and save 35 to 40 percent in electricity costs,” Ehsan said. “Manufacturers also preserve rainwater through harvesting systems, using it primarily for flushing toilets.” According to Ananta Ahmed, managing director of 360 Total Solution Limited (360TSL), a sustainable development consultancy company, some Platinum-rated LEED garment factories can reduce carbon emissions by up to 70 percent. This means that if a normal factory emits 100 megatonnes of carbon, a specially built Platinum factory emits only 30 megatonnes, he said. It is even possible to achieve net-zero carbon emissions by installing new technologies and adopting innovative practices. However, average-rated garment factories typically reduce emissions by 30 to 40 percent. Garment factories are now using solar panels, as required by Western buyers, which reduces dependence on fossil fuels and provides natural lighting, significantly cutting carbon emissions, he said. Do green factories cost more to build than regular ones? Many assume green garment factories are costlier to build, but they are actually more economical and yield higher long-term profits, said Ananta Ahmed, also a faculty member of the US Green Building Council (USGBC). Construction costs are roughly 10 percent lower than those of conventional factories, he noted. In Bangladesh, green factories also enjoy a reduced corporate tax rate of 10 percent, compared to 12 percent for non-green facilities. Profitability is significantly higher. Studies show that while a conventional factory may earn Tk 50 crore, a green facility can generate up to Tk 100 crore—thanks to savings on water and electricity, tax incentives, and a steady flow of work orders from international buyers. Buyers tend to prioritise green-certified facilities when placing orders, as end consumers increasingly prefer sustainably produced goods. Green factories may not command higher prices, but they attract more orders and are crucial for meeting European Union (EU) environmental regulations—now a key condition for sourcing from Bangladesh. Mahmud Hasan Khan, president of the Bangladesh Garment Manufacturers and Exporters Association (BGMEA), said buyers are not offering higher prices for green factories, but they are prioritising automation, sustainability, energy efficiency, water conservation, and recycling. These factors, he noted, are driving indirect gains for the industry by attracting more work orders. Adoption of New Technologies To cut water use in washing and dyeing, many factories have recently adopted advanced technologies. According to studies by the International Finance Corporation’s PaCT programme, over 338 Bangladeshi factories have reduced freshwater consumption by 25 million cubic metres annually, while slashing wastewater discharge by 21.08 million cubic metres. A decade ago, washing one kilogram of denim required nearly 200 litres of underground water. Today, that has dropped to 50 to 53 litres.
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Top 5 Lifestyle Brands in Bangladesh
The fashion scene in Bangladesh has truly blossomed over the last decade. Not too long ago, Bangladeshi shoppers used to depend heavily on India or Pakistan to find fashionable clothes. But, in the recent years, there has been a rapid change in Bangladesh fashion realm. The country now boasts a thriving fashion industry, characterised by creativity, high-quality fabrics, and brands that genuinely understand local style. We’ve always had the famous stretch of markets opposite Dhaka College — a go-to spot for bargain hunters, but anyone who’s been there knows it takes time, patience, and a bit of luck to find the really good stuff. For many working people, that’s just not an option. They want something stylish, something that stands out, without having to dig through piles of clothes. Luckily, several Bangladeshi brands have stepped up to make that possible. In this world where everyone prioritizes sustainability and wants their products to last longer, given the price point, here are five local brands that are absolutely worth swiping your card for, as they assure quality products and longevity. YELLOW Yellow, under the Beximco Group, started in 2004, has built a loyal following over the last decade. Their biggest strength is quality; you can literally feel the difference in their fabric and stitching. They don’t just mass-produce clothes; each design looks thought-out and on-trend. Their collections cater to men, women, and kids, offering everything from formal shirts and trousers to dresses, polos, and casual wear. Their style leans more towards modern and minimal, perfect for people who like clean, smart looks without too much fuss. Balancing comfort and style is a universal challenge for fashion brands, and in Bangladesh’s tropical climate, it’s even more essential. Over time, Yellow has established clear comfort benchmarks tailored to each season. In Summer, Yellow favors breathable fabrics like cotton and linen, while in Winter, we turn to warmer materials such as wool, fleece, and corduroy. Each garment undergoes multiple testing phases, including wear tests and internal group reviews, to ensure that comfort is never compromised. Yellow also has a great range of shoes, bags, belts, and accessories. Their eyewear line has quietly gained popularity, too. Whether you’re shopping for work-wear or something for the weekend, Yellow’s designs are reliable, stylish, and long-lasting. SAILOR Sailor came into the picture in 2015 and has built quite a name in just ten years. Their collections feel fresh, colourful, and very wearable, perfect for people who like both western styles and deshi touches. They’ve got something for everyone: men, women, and kids. You’ll find everything from t-shirts and jeans to kurtis, panjabis, and festive outfits. What makes Sailor fun is how they mix comfort with creativity. You can go from casual Friday to weekend hangouts without needing a wardrobe change. And it’s not just about clothes, as they’ve got shoes, handbags, backpacks, and even small lifestyle bits like grooming items. Sailor has become one of those go-to brands where you can easily pick a whole look without hopping from store to store. AARONG There’s really no way to talk about Bangladeshi fashion without mentioning Aarong. Started in 1978 under BRAC, Aarong has been part of so many homes and celebrations that it’s practically a household name. From timeless sharis to beautifully crafted panjabis and kurtis, Aarong has always represented classic Bangladeshi craftsmanship. Over the years, they’ve expanded far beyond traditional wear. Their western and fusion collections now appeal to a wide range of customers, from university students to professionals. The versatility in their collections makes it easy to dress for both festive occasions and everyday wear. And let’s not forget everything else Aarong offers — jewellery, shoes, handbags, and a beautiful range of home décor and crafts. Their Aarong Earth line has skincare and lifestyle products made with natural ingredients, which have become a favourite for many. Aarong is not just a clothing brand; it’s a full experience. RANG BANGLADESH Since 1994, Rang Bangladesh has been spreading colors across the nation—bright, lively, and full of the energy that mirrors our culture. Their collections are not just clothes; they are stories woven in threads, celebrating the rhythm of Bangladesh’s festivals and traditions. From Sharee, Panjabi dresses to matching outfits, statement jewellery and handicraft, every piece reflects a cheerful spirit. Some outlets even carry small home items, keeping that colorful essence alive in every corner of life. Rang Bangladesh designs and creates a wide range of theme-based and festival-inspired outfits. Each festival comes with its own special collection. Every design reflects a sense of originality, beautifully expressing time, tradition, and emotion through thoughtful themes. What truly sets Rang Bangladesh apart is how it captures the festive Bengali spirit in wearable, everyday pieces. Whether it’s Pohela Boishakh, Eid, Durga Puja, Lalon Utsab, Winter, the Season of Spring, Valentine’s Day, Victory Day, Nazrul or Rabindranath special collections, or simply a day you want to brighten up, there’s always something to match your mood. JATRA Jatra, founded in 2000 by artist and musician Anusheh Anadil, was created to celebrate and revive Bangladesh’s rich folk arts and crafts. Over the years, Jatra has become a vibrant platform showcasing the country’s culture through art, fashion, and lifestyle products. Since its inception, the brand has designed, promoted, and popularized handwoven clothing and handmade products, emphasizing sustainability and community empowerment. “Jatra has its own line of products, and we also provide a platform for successful online businesses. This allows customers to find eco-friendly and reliable products all in one place,” said Imtenaan Mohammad Jaquie, CEO of Jatra. The brand also offers customized products where customers can design their own product. This personalized approach rightly aligns with Jatra’s vision of
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Invest in Wonder: Unlock Bangladesh’s Tourism Potential
In a country that ranks as the eighth most populous in the world, both opportunities and challenges in the tourism sector are rising exponentially. While popular destinations often experience near-zero vacancy during holidays, many other locations still require significant development and promotion to comprehend their full potential and generate substantial revenue. Globally, the travel and tourism sector contributed $10.9 trillion, or 10% of global GDP, in 2024. It is projected to reach $16 trillion—11.4% of global GDP by 2034, marking an unprecedented decade of growth and presenting a $16 trillion opportunity for nations like Bangladesh. This global boom calls for a crucial opportunity for Bangladesh, to transform its natural landscapes, coastlines, and cultural heritage into sustainable tourism assets that drive growth, generate jobs, and strengthen the economy. That being said, here are a few travel destinations in Bangladesh, each poised for significant growth: Cox’s Bazar Beach Loved by both domestic and international travelers, Cox’s Bazar—home to the world’s longest uninterrupted natural sea beach remains a go to tourists’ destination. Whether it’s a leisurely drive along the marine Drive, hunting for authentic local goods, strolling under the moonlit shore, savouring fresh seafood, or simply escaping the nine-to-five grind, Cox’s Bazar offers something for everyone. In the social media era, now more travel enthusiasts are discovering its full potential. Ongoing development and upgrades of international-standard hotels, resorts, and specialized eco-retreats, particularly in hotspots like Cox’s Bazar, are set to expand opportunities for a diverse range of visitors. Its ultimate challenge, however, lies in implementing a sustainable master plan that promotes economic growth while protecting the fragile environment and safeguarding the well-being of its diverse communities. The Sundarbans As global demand for ecotourism rises, the Sundarbans holds immense potential to become a flagship destination that blends conservation with community empowerment. This UNESCO World Heritage Site offers serene landscapes, golden sunsets, and the rare glow of bioluminescent plankton, making it a truly world-class destination in waiting. Its network of waterways presents a unique chance to generate significant financial returns while serving the global public good. Comfortable resorts in Khulna provide ideal bases for travellers to relax while experiencing the region’s exceptional ambiance. The Sundarbans is a global Blue Carbon hub, absorbing carbon faster than any land forest. By promoting eco-friendly lodges, safe walkways, and guided wildlife tours, visitors can experience its unique beauty without damaging one such valuable global asset. Empowering local communities and ensuring they share in tourism benefits will make every visit meaningful not only for the travellers but also for the people and pulse of Sundarbans. Kuakata Kuakata is one of the few places in Bangladesh where one can witness both sunrise and sunset over the sea, offering breathtaking vistas for Instagrammers and nature lovers. Unlike Cox’s Bazar, its beaches are relatively less crowded, providing a more peaceful coastal experience. The area is also a significant hub for the Indigenous Rakhine community, who settled here after being expelled from Arakan (Myanmar) in the 18th century. The adjacent forests and secluded beaches are home to diverse bird species and natural phenomena like Red Crab Island (Kakra Dwip), where thousands of bright red crabs emerge at low tide, creating a stunning visual spectacle. The inauguration of the Padma Bridge in 2022 drastically reduced travel time from the capital, Dhaka, making Kuakata significantly more accessible and fuelling a rise in domestic tourism. With growing potential for quality accommodations, infrastructure, and adventure services, it is emerging as a promising alternative to Cox’s Bazar. Keokradong ‘‘Nothing can beat Bandarban’’—that’s how people often describe their favorite tourist destination in Bangladesh.” It’s picturesque, wild, and untouched—an experience that makes visitors want to return here again and again. Often called the “roof of Bangladesh,” Bandarban is home to the country’s highest peaks, including Tahjindong (Bijoy), Mowdok Mual, and Keokradong. Its cloud-kissed mountains, dense forests, winding rivers like the Sangu, tranquil lakes, and numerous waterfalls make it a paradise for nature lovers. While the road infrastructure has significantly improved, high-quality accommodations for guests remain limited. Current constraints including infrastructure, quality lodging, and adventure services—should not be seen as roadblocks, but rather as clear market signals for innovative developers to help this stunning destination reach its full potential. Rangamati For those seeking the true ethnic flavors of Bangladesh, Rangamati is the answer. As the administrative heart of the Chittagong Hill Tracts and home to diverse indigenous communities, it offers rich cultural experiences and a unique dimension to tourism. Known as the “Lake City,” Rangamati is surrounded by lush hills and hosts Bangladesh’s largest artificial lake, Kaptai. Its scenic boat rides allow visitors to explore tranquil waters and islands, while notable sites such as Rajban Vihara, a prominent Buddhist monastery, attract travelers for their religious and architectural significance. The region’s indigenous communities are also celebrated for their handwoven textiles, offering beautifully crafted souvenirs at local markets. For the adventurous, Rangamati presents exciting trekking routes along its picturesque hill trails. By actively involving local communities in planning and management, the region can ensure that economic benefits are equitably shared while preserving its cultural and environmental heritage for generations to come. Muktagacha Jamidar Bari The Muktagacha Zamindar Bari in Mymensingh is a magnificent, though perhaps less-discussed, testament to Bangladesh’s rich architectural and cultural heritage. This historic estate, once home to affluent landlords, offers a window into the country’s aristocratic past, showcasing classic colonial-era architecture, intricate woodwork, and expansive courtyards. Despite its dilapidated state, the Bari holds a strong appeal for niche visitors. While many artifacts have found homes elsewhere, such as at Shashi Lodge, it is the crumbling grandeur, the silent courtyards, and the weathered walls that define its haunting beauty. For history enthusiasts, the site is a deeply atmospheric landmark where the past feels almost tangible. Preserving the legacy of Muktagacha Zamindar Bari and transforming it into a prominent heritage
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Three-day Leathertech Bangladesh 2025 begins in Dhaka
Leathertech Bangladesh 2025, an international trade show, began in Dhaka on December 4, showcasing raw materials, machinery, chemicals, accessories and components for the leather sector alongside finished leather, travel goods and both leather and non-leather footwear. More than 200 local and foreign exhibitors are taking part in the event, which occupies 15,000 square metres at the International Convention City Bashundhara in the capital. The expo is being organised by ASK Trade & Exhibitions Pvt Limited with the support of the Leathergoods and Footwear Manufacturers & Exporters Association of Bangladesh (LFMEAB). Chowdhury Ashik Mahmud Bin Harun, executive chairman of the Bangladesh Investment Development Authority (BIDA), inaugurated the expo as chief guest, while Syed Nasim Manzur, president of LFMEAB, attended as special guest. Leaders of industry associations from Bangladesh, China, India and Pakistan were also present, reflecting the regional significance of the event. Leathertech Bangladesh began its journey 11 years ago as a technology platform created to bring innovations in footwear, travel goods and allied manufacturing from across the world closer to local producers. Over the years, it has become the most preferred platform for exploring and expanding opportunities in Bangladesh’s leather, footwear and travel goods sector. In the past decade, it has grown into the country’s leading networking platform for the leather industry. “The 11th edition will feature pavilions from the Council for Leather Exports India (CLE), Pakistan Tanners Association (PTA), India Footwear Components Manufacturers Association (IFCOMA), and the Confederation of Indian Footwear Industries (CIFI), along with a pavilion from the Guangdong Shoe-Making Machinery Association (GSMA) of China,” said Tipu Sultan Bhuiyan, managing director of ASK Trade & Exhibitions Pvt Ltd. “Most of the leading industry associations are supporting the event, with LFMEAB providing the lead support. Nearly 200 exhibitors from eight countries, including Bangladesh, are participating in the largest technology trade show for the leather sector in the country.” “Bangladesh’s leather industry now stands on the threshold of realising its full potential. An exhibition like ‘Leathertech’ is not merely a showcase; it is a remarkable initiative to propel the sector towards that ultimate potential,” the BIDA executive chairman said at the event. “Such events signal that the leather industry is ready to enter a new chapter. I firmly believe that with coordinated efforts between the public and private sectors, Bangladesh’s leather industry will advance much further.” The LFMEAB president, Syed Nasim Manzur, said: “The leather industry of Bangladesh is now at a crossroads to accelerate export-oriented manufacturing. To move to the next level, policy liberalisation is essential.” “If we can strengthen the right connections between our country and neighbouring economies, technological development within the leather sector will progress even faster,” he said. The leather and footwear industry is Bangladesh’s second-largest export sector after readymade garments, contributing approximately 3% of the global leather goods market and meeting nearly 10% of global leather demand. Designated as a priority sector for export diversification under the Industry Policy 2022, the industry is positioning itself as a global sourcing hub, backed by a cost-competitive workforce, abundant raw materials and targeted policy incentives. Bangladesh’s leather and footwear exports continued their recovery in October FY25–26, posting a 9.7% year-on-year growth, reaching $591.5 million compared with $539.4 million last year, according to data from the Export Promotion Bureau (EPB). Gates of the three-day showcase will remain open to business visitors free of charge from 11am to 7pm every day. Written By Nibir Ayaan
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10th International Conference on Building Resilience ongoing in Dhaka
The 10th International Conference on Building Resilience (ICBR) started in Dhaka on December 4, bringing global experts together to address cascading and compound risks posed by climate change, humanitarian crises and disasters. The three-day event is hosted by BRAC University’s Cell for Adaptation, Resilience, Security, and Humanitarian Assistance (CARSHA) alongside its Department of Architecture under the School of Architecture and Design. Established in 2008, the ICBR series has become a globally recognised platform for disaster resilience and risk reduction, attracting academics, practitioners and policymakers from diverse disciplines. Previous editions have been held in Australia, Indonesia, New Zealand, Portugal, Sri Lanka, Thailand, the UK and the USA, underscoring the conference’s international reach and reputation. The Dhaka conference will focus on the theme “Addressing Cascading and Compound Risks of Climate Change, Humanitarian Crises and Disasters.” Organisers say the theme reflects the growing complexity of global hazards, where climatic shifts, natural disasters, conflicts, technological failures and environmental degradation increasingly overlap. They warn that societies must now prepare for multiple disasters occurring simultaneously, as well as the chain reactions triggered by single events. The conference aims to provide a platform for experts, researchers, academics, practitioners and decision-makers to share knowledge and strategies for reducing these risks in a global context. Key areas of discussion included anticipatory approaches to disaster risk reduction, climate financing and loss-damage calculation, forced displacement and its impacts, and challenges in rehabilitation, relocation and emergency accommodation. Sessions also explored innovation in climate change adaptation, building financial resilience, humanitarian operations, peace and development, and community participation in addressing complex risks. Other topics included ecosystem-based adaptation, the nexus of humanitarian crises and climate change impacts, the future of global humanitarian operations, and resilient built environment design. The organisers have set out a detailed timeline for participation. Abstract and poster submissions opened on June 1 of 2024, with the final deadline on August 1 of 2025. Notifications of acceptance was issued on August 22 of 2025, followed by revised submissions due on September 26 of 2025. Final selections were confirmed on October 24 of 2025, while early bird registration closed on October 31 the same year. The conference itself will run from December 4–6 at BRAC University’s campus on Bir Uttam Rafiqul Islam Avenue in Dhaka. Organisers emphasised that the event is designed to encourage cross-sectoral collaboration, bringing together voices from academia, government, industry and humanitarian organisations. They argue that such collaboration is essential to tackle the escalating risks posed by climate change and disasters, which in creasingly cut across national boundaries and sectors. The Dhaka edition is expected to highlight Bangladesh’s role as a frontline nation in climate resilience, given its vulnerability to rising sea levels, cyclones and flooding. By hosting the 10th ICBR, BRAC University aims to position itself as a hub for global dialogue on resilience and adaptation. The conference also showcased the work of CARSHA, which focuses on adaptation, resilience, security and humanitarian assistance in the context of climate change and disasters. Organisers say the event will not only disseminate research but also foster practical solutions that can be applied in vulnerable regions worldwide. With participation from international partners and knowledge networks, the Dhaka conference is expected to strengthen global cooperation on disaster resilience. As the countdown begins, the 10th ICBR is being framed as a milestone event in the global effort to confront cascading and compound risks. At a time when climate change and humanitarian crises are converging, the Dhaka conference seeks to chart a path towards resilience and preparedness. Written by Nibir Ayaan
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AkijBashir Group Opens New “Selections” Showroom at Banglamotor
AkijBashir Group has opened a new Selections showroom at Banglamotor, Dhaka, expanding its network of outlets that offer building-material solutions under one platform. Launched in October 2022 with the motto “Select from the Best,” Selections now operates seven flagship outlets across Dhaka, Chittagong, Sylhet, Savar, Tangail, and Kishoreganj. The newly opened Banglamotor showroom, located at 18 Link Road, features a range of ceramic tiles, boards, doors, sanitaryware, bathware, and tableware – representing the complete product lineup of AkijBashir Group brands. The showroom was inaugurated by Mohammod Khorshed Alam, Chief Operating Officer of AkijBashir Group. Senior officials present included Mohammed Ashraful Haque, General Manager (Sales) of Akij Ceramics; Bishwajit Paul, Head of Sales at ROSA; and Md. Hasan-Ur-Rashid, proprietor of Yasir Trade Corporation. With the opening of the Banglamotor outlet, Selections continues its expansion, offering customers improved access to its building-material categories and a convenient selection experience.
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Three-day Global Sourcing Expo 2025 opens in Dhaka
The Global Sourcing Expo 2025 – Dhaka has opened at the Bangladesh-China Friendship Exhibition Centre in Purbachal, bringing together exporters, buyers and trade bodies from across the world in a major push to diversify Bangladesh’s export markets. Jointly organised by the Export Promotion Bureau (EPB) and the commerce ministry, the three-day event is being billed as a strategic international platform showcasing Bangladesh’s evolution from a global apparel powerhouse to a diversified export hub. The expo features products from eight major sectors: readymade garments, leather and leather goods, jute and jute products, agricultural goods, plastics and kitchenware, home décor and furniture, pharmaceuticals, and ICT. More than 100 firms are taking part, including multinational companies, wholesalers and supply-chain representatives. Buyers and sourcing organisations from Afghanistan, China, Iran, Japan, Myanmar, Pakistan, Singapore, Sri Lanka, Thailand, the UAE, the US and several other countries are attending business-to-business meetings and negotiating potential contracts. The fair houses 200 stalls and includes 12 thematic seminars, fashion shows, product demonstrations, and both online and offline networking sessions. Organisers say the event is designed to connect local businesses with global buyers, trade bodies and new market opportunities to accelerate export growth and diversification. Commerce Adviser Sk Bashir Uddin, who inaugurated the expo, said Bangladesh must accelerate diversification, strengthen competitiveness and adopt forward-looking trade policies as it prepares to graduate from the group of least developed countries (LDCs). “To navigate this transition successfully, we must accelerate diversification, improve competitiveness, and adopt forward-looking trade policies,” he said. He added that while graduation is a major achievement, it will gradually reduce the preferential market access and duty benefits Bangladesh currently enjoys. At a seminar on the sidelines of the expo, Mohammad Hatem, president of the Bangladesh Knitwear Manufacturers and Exporters Association, said foreign involvement in port operations could improve efficiency. He also called for suspension of the amended labour law until a newly elected government is in place, arguing that the current changes are neither industry- nor worker-friendly. In another session, Inamul Haq Khan, senior vice-president of the Bangladesh Garment Manufacturers and Exporters Association, stressed the need for easier access to green financing, greater support from brands through knowledge sharing and technology transfer, and targeted interventions for SMEs. He urged wider regional inclusion so that areas such as North Bengal, Sylhet and Chattogram can benefit alongside Dhaka-centric clusters. Khan also called on the government to amplify the industry’s success stories through Bangladesh’s embassies and high commissions abroad, showcasing achievements on the global stage. The expo is being positioned as a vital opportunity for companies aiming to expand exports, launch new product lines or strengthen global brand visibility. With strong government backing for trade and investment, it reflects Bangladesh’s push for product and market diversification at a time when the country is seeking to secure its place in global markets beyond garments. Speakers at the event included Lutfey Siddiqi, special envoy for international affairs to the chief adviser; Mohammad Hasan Arif, EPB vice chairman; Mahbubur Rahman, commerce secretary; and Md Abdur Rahim Khan, administrator of the Federation of Bangladesh Chambers of Commerce and Industry (FBCCI). Organisers say the expo is not only about showcasing products but also about building long-term partnerships. The inclusion of thematic seminars and networking sessions is intended to encourage dialogue on issues ranging from sustainable production and green financing to supply-chain resilience and regional inclusion. The event comes at a critical time for Bangladesh’s economy. As the country prepares for LDC graduation, policymakers and industry leaders are emphasising the need to diversify the export basket, strengthen supply-side capacity and forge new partnerships with international buyers. The expo, they argue, provides a platform to address these challenges while highlighting Bangladesh’s achievements and ambitions. By bringing together stakeholders from across the world, the Global Sourcing Expo 2025 – Dhaka underscores the country’s determination to move beyond its reliance on garments and establish itself as a competitive player in a wider range of industries. Written by Nibir Ayaan
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Driving Global Competitiveness and Strategic Growth for the Ceramic Industry: CERAMIC EXPO Bangladesh-2025 Highlights
The third day of the 4th CERAMIC EXPO Bangladesh-2025 was marked by high energy, featuring power-packed seminars focused on the industry’s future. One of the key events was Seminar-2: “Global Market Strategies: Challenges and Opportunities for Ceramic Products.” This session served as a platform for manufacturers, exporters, and suppliers from home and abroad to examine market trends and share key insights regarding the challenges and opportunities for Bangladesh’s ceramic products in global market. Bangladesh’s ceramic sector, a $905 million industry growing around 20% annually since 2001, still faces major hurdles in scaling globally. The session brought together academia,policymakers,and industry leaders,sparking a dynamic discussion on how the sector can overcome obstacles and cement its place on the global stage. Key Insights from Academia The spotlight first fell on Keynote Speaker Dr.Aditi Shams,Associate Professor, Department of International Business (IB), University of Dhaka, who presented a data-filled report that set an intellectually charged tone for the event. Dr.Shams noted that while strong backward linkage makes the sector more competitive by reducing imports and boosting exports, the industry’s major challenge lies beyond external factors. “Sadly,beyond the external challenges, it is our unresolved internal struggles that continue to hold the sector back from reaching its full potential,” she asserted. She highlighted the ongoing gas and energy crisis,coupled with the long, complicated, and exhausting investment paperwork process, as steadily delaying growth and slowing overall progress. With Bangladesh moving beyond LDC status, its exporters may now face new tariffs and lose some of the previous advantages giving the competitors a potential edge. However, the final impact depends heavily on destination market rules, product type, certification, and production/export conditions. Ms.Aditi urged firms to follow the lead of companies like Akij Ceramics and the Abul Khayer Group,which are already investing in advanced technology to create high-end, standout products. She also highlighted the critical need for green certifications, noting that as consumers become increasingly climate-conscious, sustainable practices are no longer optional but essential for entering international markets. Finally,she emphasized the importance of branding Bangladeshi ceramics on the global stage-telling our story through our products. Just as one can distinguish Vietnam’s ceramics from China’s,she said, people should be able to recognize Bangladeshi products at a glance. She addressed how such expo trade fairs can be greatly impactful to increase visibility and exposure to world industry tycoons. Another panellist Dr. Mohammad Monirul Islam, also an Associate Professor from the University of Dhaka’s International Business (IB) department, specifically criticized the country’s unbalanced priorities, arguing that its over-reliance and singular focus on the Ready-Made Garments (RMG)sector have led to the neglect of other booming industries, such as ceramics. Dr.Amnir Ahmed, Associate Professor and Head Department of Real Estate Daffodil International University, focused on the necessity of curriculum reform. He highlighted the success of his institution’s real estate graduates, who are now specialists in their field. Therefore, Bangladesh’s educational curriculums must integrate such effective courses that ensure graduates secure immediate employment while simultaneously providing the country with a much-needed skilled workforce. Dr. Amir Ahmed and Dr. Aditi Shams couldn’t help but address the vital importance of engaging more in research, a deficiency this industry must overcome to fill necessary gaps. Industry and Policy Perspectives: M.Mamunur Rashid of Artisan Ceramics Ltd. gave his thoughtful take on maintaining a well-maintained,clean factory for high-end production and worker efficiency. He said how policymakers play a significant role in facilitating progress from every angle. Special guest Baby Rani Karmakar from the Export Promotion Bureau emphasized the importance of investing in clients, describing it as the “secret sauce” for long-term success in order to build a strong foundation for the industry’s future growth. She mentioned the necessity of a decisive,future-focused approach with clear vision:”We must set our target, where we would like to see us, and take actions likewise.” This strategic planning extends to market engagement, where she insisted on the need to actively “win the buyers” and pursue mutually beneficial partnerships. To effectively brand and exert influence on the global stage, Karmakar argued, “we need to come to that antiquity to tell our stories and attract buyers from the globe,” citing examples such as Rooplal House, the Armenian Church,and the Tara Mosque. The session concluded on a strategic paradox: while Bangladesh’s ceramic sector possesses significant foundational strengths, its long-term viability is critically impeded by deep structural weaknesses.Opportunities could emerge from addressing these very challenges.The sector’s over-reliance on imported raw materials (85-95%) and acute domestic energy and infrastructure deficits render it vulnerable to input cost inflation and order cancellations, despite the potential presented byrapid domestic urbanization and global market expansion. Crucially,the window for growth is constrained by the existential threat of LDC graduation and the subsequent loss of GSP preferential market access, necessitating an urgent strategic shift toward developing backward linkages and resolving energy vulnerabilities before external policy risks fully materialize.
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For the first time BCMEA organized a ‘Dealer Night’ in honour of ceramic dealers
Dhaka (28 November 2025): The largest gathering of ceramic industry dealers took place at the International Convention City Bashundhara in the capital, as part of the major event in the ceramic sector, Ceramic Expo Bangladesh 2025. On the evening of the second day, BCMEA held a Dealer Night in honour of the dealers for the first time in Bangladesh’s history. In the event, BCMEA’s President Moinul Islam stated that we need to advance significantly in this sector to face future challenges. For this, timely use of technology and preparing products according to customer demand to survive in the global market is essential. The welcome speech was delivered by BCMEA’s Senior Vice President Abdul Hakim Sumon. The event featured speeches from Syed Mohsin Hossain, Head of Corporate Marketing at Principal Sponsor Sheltech Ceramics; Shahiduzzaman Raj, Head of Sales at Platinum Sponsor DBL Ceramics; Bishwajit Pal, Head of Sales at Akij Ceramics; and Iftekhar Alam, Head of Sales at Fresh Ceramics. BCMEA’s Senior Vice President Mamunur Rashid FCMEA expressed gratitude. The event was enlivened by the humour of renowned comedian Abu Hena Roni and the songs of the melody queen Anika. Later, through a raffle draw, 10 dealers were awarded attractive prizes. The event was attended by directors of the Bangladesh Ceramic Manufacturer and Exporter Association, heads of sales from ceramic companies, dealers from across the country, exhibitors, and architects. On the second day of the four-day BCMIEA Ceramic Expo Bangladesh 2025, a large number of domestic and foreign visitors, dealers, engineers, businessmen, students, and individuals related to the construction industry visited the fair. During this time, they expressed amazement at the world-class technology-dependent ceramic products produced in Bangladesh. Throughout the day, various stalls had arranged different courtesy gifts and a raffle draw for the visitors. The venue was bustling with all stakeholders of the ceramic sector under one roof. Here, through various business agreements, experience sharing, and consultations, it is believed by most that the companies related to this sector will benefit. There was a separate stall for those who want to build their careers in the ceramic industry, where many students and job seekers submitted their CVs, while various companies expressed interest in recruiting personnel in this sector. Written by Mizanur Rahman Jewel
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The Ceramic Expo bustling with a large number of people on the 2nd day
Dhaka (28 November 2025): The BCMEA Ceramic Expo Bangladesh 2025 has gathered in the capital. On the second day of this four-day vibrant event, the International Convention City Bashundhara was bustling with local and foreign visitors, exhibitors, businessmen, engineers, architects, and representatives from various companies. The arriving businessmen held meetings with B2B, B2C, and representatives from different companies. In the various pavilions and stalls, they demonstrated their products and ensured spot orders. Senior officials of various companies stated that due to the holiday, there was a noticeable crowd of visitors from the morning, and many placed orders for products. Artist Shahin Mahmud Reza, participating in the fair for the first time, expressed satisfaction with the organization of the fair. As every year, dealer Md. Rahim Uddin has come to the expo from Chittagong. He mentioned that he has seen many new designs at this year’s expo. Following this, a seminar was held in a very large hall where relevant stakeholders participated. Mohammad Khaled Hasan, Deputy General Manager of Sheltech Ceramics Limited, the titled sponsor of the expo, mentioned that the ceramic industry of Bangladesh is a glorious sector. Earlier, we used to import ceramic products at about 80 percent, but nowadays approximately 15 to 20 percent we import; we export it and gradually extend its market. One of the visiting engineers stated that this sector has achieved an average growth of over 20 percent, setting records. Despite the gas crisis, the uninterrupted supply of electricity, and various domestic and international crises, this industry remains an emerging sector. Unlike the ready-made garment, jute, and textile sectors, which receive policy support, this sector has reached a respectable position solely due to the courageous initiatives of entrepreneurs. One could say that the ceramic industry has brought about a silent revolution in the last 10 years. Through rapid expansion in the local market, stable presence in foreign markets, and massive job creation, this industry has demonstrated that with industry-friendly policies, uninterrupted gas supply, and proper branding, it will be capable of exporting billions of dollars in the future solely in Asia. Today, there are about 65–70 ceramic factories and brands in the country producing various products including tableware, tiles, sanitary ware, and electric insulators. As a result, instead of being import-dependent like before, Bangladesh now fulfils a large part of its own demand and sends excess production to the global market; this is not a small change but rather a picture of slow yet steady success in industrial policy. The domestic market for Bangladeshi ceramic products is currently considered to be worth around 70 to 90 billion BDT, with annual growth hovering around 20 percent for a long time. Once where 80 percent of the market was occupied by foreign brands, today local companies meet nearly 85 percent of market demand; in tableware, local participation exceeds 90 percent. Some visitors stated rapid urbanisation, development in the housing sector, rising incomes of the middle class, and changes in lifestyle perspectives have contributed to this achievement. The use of tiles and sanitary products in new flats, shopping malls, hotels, and restaurants is now not just a necessity but also a symbol of prestige and taste. In this way, the ceramic industry has become directly linked to the dreams of the urban middle class, as if the contribution of this industry is silently signing on the walls and floors of every new flat. Although the export earnings of the ceramic industry are still seen by many as ‘less compared to the size of investment’, in reality, it has passed an important initial phase. In the fiscal year 2022–23, the export earnings from ceramic products reached around 43–55 million USD (equivalent to 600–650 crore BDT), which is the highest in four years. The export growth in this sector from 2021–22 to 2022–23 was over 21 percent, although in the fiscal year 2023–24, it has slightly decreased by nearly two percent. Tableware occupies the largest share in the export basket; recently, tiles have also been added. Bangladeshi ceramic products now go to over 50 countries; United States, Canada, Germany, France, Italy, Japan, and various countries in the Middle East are major destinations. In such a reality, despite slight fluctuations, it is clear that Bangladesh is establishing itself as a reliable source of ‘low-cost but quality’ ceramic products in the global market. This expo carries a very high potential for the Bangladeshi ceramic industry and also plays a vital role in the economy. Written by: Mizanur Rahman Jewel
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Government Pledges Full Policy Support to Boost The Ceramic Industry Growth: Sheikh Bashir
“The Interim Government will provide all necessary policy and regulatory support to accelerate the ceramic industry’s expansion.”, said the Commerce Adviser Sheikh Bashir Uddin. At the inauguration of the Ceramic Expo Bangladesh 2025, he stated “The ceramic industry, once fully dependent on imports, has now secured a strong position in global markets. There is a growing need for advanced technology adoption and uninterrupted energy supply to maintain production efficiency.” The four-day international exhibition has commenced on 27th Nov in Dhaka to present Bangladesh’s ceramic industry to local and global buyers and investors. Organized by the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA), Ceramic Expo Bangladesh 2025, one of Asia’s largest and most influential international ceramic trade exhibitions, is being held at the International Convention City Bashundhara (ICCB). The event was presided over by BCMEA President Moinul Islam. Other speakers included Export Promotion Bureau Vice-Chairman Mohammad Hasan Arif, Italian Ambassador to Bangladesh Antonio Alessandro, BCMEA Senior Vice-Presidents Md Mamunur Rashid and Abdul Hakim Sumon, and BCMEA General Secretary Irfan Uddin. BCMEA President Moinul Islam noted that the ceramic industry has experienced rapid growth over the past decade. More than 70 factories producing tableware, tiles, and sanitary ware are currently in operation, serving a domestic market valued at Tk 8,000 crore annually. Over the last ten years, both production and investment have increased by nearly 150 percent. He added that Bangladesh now exports ceramic products to more than 50 countries, earning nearly Tk 500 crore in annual export revenue. Total industry investment exceeds Tk 18,000 crore, with the sector providing direct and indirect employment to approximately 500,000 workers. He further highlighted that major ceramic-producing nations, including China and India, are increasingly exploring investment opportunities in Bangladesh due to its competitive cost advantages and expanding global footprint. Fair Committee Chairman and BCMEA Secretary-General Irfan Uddin said Bangladeshi ceramic products are gaining international recognition for their quality, durability, and modern design. Demand is rising, and new global markets are opening for local manufacturers. He added that the expo will spotlight next-generation ceramic technologies, including automation, advanced digital printing, robotic handling, and upgraded production lines. “Smart tiles and sensor-integrated ceramic products, which are already popular worldwide, are expected to enter the domestic market soon. This expo will help local manufacturers connect with these emerging technologies,” he said. Following the inauguration, the commerce adviser and distinguished guests visited various pavilions and stalls, where they praised the innovations and product displays. The adviser expressed confidence that the sector will become increasingly export-driven. This fourth edition of the expo is set to host 135 companies and 300 global brands from 25 countries, including host Bangladesh, while more than 500 international delegates and buyers are scheduled to participate, underscoring the increasing global focus on Bangladesh’s rapidly expanding ceramic sector. BCMEA confirmed that the exhibition will feature three technical seminars, a job fair, extensive B2B and B2C meetings, live product demonstrations, spot-order opportunities, raffle draws, attractive giveaways, and the launch of new ceramic technologies and products. The exhibition is open to visitors free of charge from 10:00 AM to 6:00 PM daily and is expected to attract buyers, suppliers, and stakeholders from across the sector. The event is supported by key industry partners. Sheltech Ceramics is serving as the Principal Sponsor, while DBL Ceramics, Akij Ceramics, and Meghna Ceramics are Platinum Sponsors. Gold Sponsors include Mir Ceramics, Abul Khayer Ceramics, HLT DLT, and SACMI, reflecting broad industry backing for the international expo. Written By: Mizanur Rahman Jewel and Anonno Aziz NIbir
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Ceramic Expo Bangladesh 2025 Opens in Dhaka, Showcasing National Industry to Global Markets
A four-day international exhibition has commenced in Dhaka to present Bangladesh’s ceramic industry to local, global buyers and investors. Organized by the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA), Ceramic Expo Bangladesh 2025, one of Asia’s largest and most influential international ceramic trade exhibitions, is being held at the International Convention City Bashundhara (ICCB). This fourth edition of the expo is set to host 135 companies and 300 global brands from 25 countries, including host Bangladesh, while more than 500 international delegates and buyers are scheduled to participate, underscoring the increasing global focus on Bangladesh’s rapidly expanding ceramic sector. BCMEA confirmed that the exhibition will feature three technical seminars, a job fair, extensive B2B and B2C meetings, live product demonstrations, spot-order opportunities, raffle draws, attractive giveaways, and the launch of new ceramic technologies and products. The exhibition is open to visitors free of charge from 10:00 AM to 6:00 PM daily and is expected to attract buyers, suppliers, and stakeholders from across the sector. Speaking at the opening ceremony, Commerce Adviser Sheikh Bashir Uddin said the industry, once fully dependent on imports, has now secured a strong position in global markets. He stressed the need for advanced technology adoption and uninterrupted energy supply to maintain production efficiency. The adviser added that the Interim Government will provide all necessary policy and regulatory support to accelerate the industry’s expansion. Following the inauguration, the adviser and distinguished guests visited various pavilions and stalls, where they praised the innovations and product displays. The commerce adviser expressed confidence that the sector will become increasingly export-driven. The event was presided over by BCMEA President Moinul Islam. Other speakers included Export Promotion Bureau Vice-Chairman Mohammad Hasan Arif, Italian Ambassador to Bangladesh Antonio Alessandro, BCMEA Senior Vice-Presidents Md Mamunur Rashid and Abdul Hakim Sumon, and BCMEA General Secretary Irfan Uddin. BCMEA President Moinul Islam noted that the ceramic industry has experienced rapid growth over the past decade. More than 70 factories producing tableware, tiles, and sanitary ware are currently in operation, serving a domestic market valued at Tk 8,000 crore annually. Over the last ten years, both production and investment have increased by nearly 150 percent. He added that Bangladesh now exports ceramic products to more than 50 countries, earning nearly Tk 500 crore in annual export revenue. Total industry investment exceeds Tk 18,000 crore, with the sector providing direct and indirect employment to approximately 500,000 workers. He further highlighted that major ceramic-producing nations, including China and India, are increasingly exploring investment opportunities in Bangladesh due to its competitive cost advantages and expanding global footprint. Fair Committee Chairman and BCMEA Secretary-General Irfan Uddin said Bangladeshi ceramic products are gaining international recognition for their quality, durability, and modern design. Demand is rising, and new global markets are opening for local manufacturers. He added that the expo will spotlight next-generation ceramic technologies, including automation, advanced digital printing, robotic handling, and upgraded production lines. “Smart tiles and sensor-integrated ceramic products, which are already popular worldwide, are expected to enter the domestic market soon. This expo will help local manufacturers connect with these emerging technologies,” he said. The event is supported by key industry partners. Sheltech Ceramics is serving as the Principal Sponsor, while DBL Ceramics, Akij Ceramics, and Meghna Ceramics are Platinum Sponsors. Gold Sponsors include Mir Ceramics, Abul Khayer Ceramics, HLT DLT, and SACMI, reflecting broad industry backing for the international expo. Written by: Mizanur Rahman Jewel
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Four-day Ceramic Expo Bangladesh 2025 Begins Thursday
The Ceramic Expo Bangladesh 2025 is set to begin Thursday, November 27, at the International Convention City Bashundhara (ICCB), Kuril, Dhaka. The four-day international ceramic fair is being organized by the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA). The expo will be formally inaugurated by Commerce Adviser Sheikh Bashiruddin. For the fourth time, this world-class exhibition on ceramic raw materials, machinery, and technology will feature participation from 300 brands representing 135 companies from 25 countries, including Bangladesh. In addition, 500 international delegates and buyers will join the event. The expo will also include three seminars, a job fair, B2B and B2C meetings, raffle draws, attractive gifts, live demonstrations, spot orders, and opportunities for launching new products. From BCMEA President Moynul Islam, more than 70 ceramic tableware, tiles, and sanitary ware factories have already been established in the country. Over the past ten years, production and investment in the ceramic sector have grown by nearly 150 percent. Bangladesh exports ceramic products to more than 50 countries worldwide, earning around Tk 500 crore annually. Export earnings in this sector are increasing. Many countries, including major ceramic-producing nations such as China and India, have shown interest in investing here. The sector has attracted investments of over Tk 18,000 crore. “Ceramic Expo Bangladesh 2025 has been organized to showcase the development of the country’s ceramic industry and its capabilities worldwide. I hope that your overall cooperation will make this event even more dynamic, says BCMEA President Moynul Islam. Fair Committee Chairman and BCMEA General Secretary Irfan Uddin expressed that Ceramic Expo Bangladesh 2025 is the country’s fourth and Asia’s largest international exhibition of its kind. “Ceramic manufacturers, exporters, and suppliers are getting the opportunity to showcase their new products, modern technologies, and expertise to a global audience. Along with marketing domestic ceramic products, the expo will also help raise awareness about their use”, he adds. The four-day exhibition will remain open to visitors, buyers, and participants free of charge every day from 10 a.m. to 6 p.m. Sheltech Ceramics is the principal sponsor of the fair, while DBL Ceramics, Akij Ceramics, and Meghna Ceramic are the platinum sponsors. In addition, the gold sponsors include Mir Ceramic, Abul Khair Ceramic, HLT DLT, and Sacmi. Written By Tasmiah Chowdhury
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Organized by BCMEA, the Four-day Ceramic Expo Bangladesh 2025 Set to Begin on November 27
The Ceramic Expo Bangladesh 2025 is set to begin on November 27 at the International Convention City Bashundhara (ICCB), Kuril, Dhaka. The four-day international ceramic fair—one of Asia’s most prominent—is being organized by the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA). For the fourth time, this world-class exhibition on ceramic raw materials, machinery, and technology will feature participation from 300 brands representing 135 companies from 25 countries, including Bangladesh. In addition, 500 international delegates and buyers will join the event. The expo will also include three seminars, a job fair, B2B and B2C meetings, raffle draws, attractive gifts, live demonstrations, spot orders, and opportunities for launching new products. At a press conference held today, November 23, the Dhaka Reporters Unity auditorium in the capital, BCMEA President Moynul Islam shared these details. In addition, Fair Committee Chairman and BCMEA General Secretary Irfan Uddin spoke, highlighting various aspects of the expo. Also present at the event were BCMEA Senior Vice President Md. Mamunur Rashid, FCMA; Senior Vice President Abdul Hakim Suman; Vice President Rasheed Mymunul Islam; and Director Mohd. Ziaul Hoque Zico. From the Principal Sponsor of the fair, Sheltech Ceramics Ltd., Director (Sales & Marketing) Syed Ali Abdullah Jami, Didarul Alam Khan, Head of Marketing of Platinum Sponsor DBL Ceramics Ltd., Md. Ashraful Haque, General Manager (Sales & Marketing) of Akij Ceramics Ltd., and Shahjada Yeasir Arafat Shuvo, Manager (Brand) of Meghna Ceramic Ind. Ltd., were present. The press conference announced that on November 27, the expo will be formally inaugurated at the ICCB by Commerce Adviser Sheikh Bashiruddin. In addition, on November 29, Foreign Affairs Adviser Mohammad Touhid Hossain will attend a special segment of the expo as the chief guest. BCMEA President Moynul Islam said that more than 70 ceramic tableware, tiles, and sanitary ware factories have already been established in the country. The annual sales volume in the local market is approximately Tk 8,000 crore. Over the past ten years, production and investment in the ceramic sector have grown by nearly 150 percent. Bangladesh exports ceramic products to more than 50 countries worldwide, earning around Tk 500 crore annually. Export earnings in this sector are increasing, as is investment. Many countries, including major ceramic-producing nations such as China and India, have shown interest in investing here. The sector has attracted investments of over Tk 18,000 crore, and it directly and indirectly provides employment to nearly five lakh people. Fair Committee Chairman and BCMEA General Secretary Irfan Uddin said that due to superior quality and attractive designs, the demand for Bangladesh-made ceramic products is increasing in the global market. Not only that, new markets are also emerging. He added that Ceramic Expo Bangladesh 2025 is the country’s fourth and Asia’s largest international exhibition of its kind. Ceramic manufacturers, exporters, and suppliers are getting the opportunity to showcase their new products, modern technologies, and expertise to a global audience. Along with marketing domestic ceramic products, the expo will also help raise awareness about their use. Irfan Uddin said that they believe the use of technology in the ceramic industry will completely transform its future. Through automation, advanced digital printing, robotic handling, and high-quality production lines, manufacturing will become faster, more precise, and more cost-effective. He added that smart tiles and sensor-integrated products are gaining popularity worldwide, and this trend will soon influence the Bangladeshi market as well. The expo, he noted, will create a vital link between these technologies and local manufacturers. The four-day exhibition will remain open to visitors, buyers, and participants free of charge every day from 10 a.m. to 6 p.m. Sheltech Ceramics is the principal sponsor of the fair, while DBL Ceramics, Akij Ceramics, and Meghna Ceramic are the platinum sponsors. In addition, the gold sponsors include Mir Ceramic, Abul Khair Ceramic, HLT DLT, and Sacmi. Written by Tasmia Chowdhury
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Dhaka Makers Presented ‘Crafted by Makers’ Four-Day Workshop Series 2025
Dhaka Makers presented ‘Crafted by Makers’ – a four-day workshop series held from November 13 to November 16, 2025, at Shala Neighbourhood Art Space, Aloki. A total of 14 creative workshops were hosted that celebrated art, craft, and design in all their forms. Each day of the workshop series featured engaging and distinctive session led by skilled artisans for participants. The four-day event hosted various sessions: terracotta jewelry workshop, robotics workshop, candle-making workshop, miniature model-making workshop, origami workshop, and many more. The curated sessions aimed to showcase Bangladesh’s vibrant arts and craft culture while promoting learning, play, and mindful creation for all ages, especially, children and teenagers. Every instructor paced the activities carefully so participants could follow along comfortably and absorb the making process. There were also some sessions designed for older children and adults such as the ‘Hand-Knotting Tapestry with Boho’, facilitated by Nazneen Nahar Smrity. This workshop blended craftsmanship and creativity. The workshop was perfect for anyone who loves tactile art and wants to experience the meditative rhythm of weaving, and learn the skills of a century-old tradition. Other captivating session included the ‘Putli Puraan: Doll Making Workshop’, facilitated by Mita Muni. The workshop led participants to step into the enchanting world of traditional doll making. By the end of this workshop, participants acknowledged the process, skill, and the cultural value behind this underappreciated art form in Bangladesh, discovering its deep heritage and future potential for creative revival. One other fascinating session was ‘Candēla by Newton’s Archive’ facilitated by Rahnuma Ahsan Raima and team. Candēla was a hands-on candle-making workshop that celebrated Bangladeshi culture and craftsmanship, and the art of making. Inspired by the country’s natural palette – from monsoon earth tones to the aromas of native blooms – the edition blended local motifs, materials, and scents. Dhaka Makers remains committed to fostering creative growth in children and young minds, offering workshops that encourage experimentation, and introduce a vibrant world of new ideas and possibilities. Written by Tasmia Chowdhury
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Glimpses from 75-95
Titled “Phire Dekha/Re See,” the ongoing exhibition at the capital’s Kalakendra is comprised of the most heavyweight line-up of artists in a single group show in this gallery’s journey so far. Although a young gallery run by the veteran Wakilur Rahman, Kalakendra has already cemented its place as a hub for regular exhibition-goers of Dhaka, and its latest exhibition is another beautiful stroke in its canvas. Kazi Rakib, Deepa Haq, Dhali Al Mamoon, Dilara Begum Jolly, Nisar Hossain, and Shishir Bhattacharjee, Saidul Haque Juise, Fareha Zeba, Ratan Mojumdar, Habibur Rahman, Ruhul Amin Kajol, Lala Rukh Selim, Towfiqur Rahman, and Wakilur Rahman—if you are an enthusiast of the Bangladeshi art scene, you are at least familiar with a few of these names from this stellar list of Bangladeshi artists. These names, whether as a promising back-in-the-day or established artist, as a respected teacher for generations of art students, or as a curator, are all notable in their own ways in a detailed history of the Bangladeshi art scene. Growing up in a country where there is a mass tendency of collective amnesia towards the importance of archives and still no organized/proper practice of museum and gallery culture, if you have ever wondered what the art of some notable names looked like when they were at your and your Charukola friends’ age, “Phire Dekha” provides you a glimpse. The show gathers these fourteen artists, whose works once characterized the visual rhythm of postwar Bangladesh. The display, which runs from 1975 to 1995—an era marked by instability, transformation, and fragile hope—does not attempt to rebuild history but rather to reflect on it through the lens of art. Those two decades were more than just years on a timeline; they were a line of reckoning. Bangladesh, yet learning the lexicon of its freedom, was seeing seismic worldwide shifts—the demise of socialism, the growth of neoliberal dreams, and the gradual disintegration of collective idealism. These factors undoubtedly influenced how artists thought, created, and responded to their surroundings. The show makes no conclusive statements about that age; rather, it creates a contemplative space between history and present, memory and method, inviting visitors to rediscover what art previously possessed and what it continues to disclose. “Re See” is curated without the weight of theory or curatorial rigor, instead assembling pieces of real experience rather than a predefined theme. All of the participating artists were young art students in the years following the Liberation War. Some were members of collectives such as Dhaka Painters or the Somoy Group, while others forged their own paths of discovery. Their works together provide a mosaic of artistic and emotional progress, a portrait of a generation that used color, form, and gesture to express its times. The exhibition features paintings, sculptures, prints, sketches, and mixed-media pieces, the majority of which are from the artists’ personal archives. The mix of mediums—etchings, acrylics, watercolor, and assemblage—reflects the restless search for words that marked Bangladeshi art throughout those decades. “We seldom get to see the works that shaped our contemporary practice,” he observed. “Between 1970 and 1990, the political and cultural landscapes of our country changed dramatically, and those changes inevitably entered art. The young artists of that period absorbed both global and local influences, reinterpreting them through their own materials, symbols, and languages. Many have since matured into leading figures, guiding the next generations of creators,” said art historian and critic Professor Abul Mansur. These words capture the essence of “Re See”; it is not nostalgia but an act of rediscovery, an artistic archaeology of thought and feeling. The exhibition runs daily from 4 p.m. to 8 p.m. until November 15 at Kalakendra. Written by Shahbaz Nahian
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Machan and Floating Schools Win Prestigious Ammodo Architecture Award 2025
Two Projects from Bangladesh – Machan: Korail Community Platform in Dhaka by Paraa and the Floating Schools for Community Resilience by Shidhulai Swanirvar Sangstha in Pabna district, —have been named among the 26 global recipients of the 2025 Ammodo Architecture Award for their contributions to socially and ecologically responsible design. From the Ammodo, this year’s selection spans six regions: Africa, Asia, Europe, North & Central America, South America, and Southeast Asia & Oceania. The chosen projects address diverse urban and rural contexts, tackling issues such as housing, education, ecological restoration, and collective living. Awardees were selected by an international advisory committee consisting of six renowned architects and cultural professionals from around the globe: Joumana El Zein Khoury, Andrés Jaque, Anupama Kundoo, Floris Alkemade, Mariam Issoufou and Loreta Castro Reguera. Machan: Korail Community Platform, Dhaka The name – Machan, meaning ‘platform’ in Bangla, is Dhaka’s first community-driven permanent cultural and creative hub located in the Korail low-income settlement. It emerged from the “Korail: City of Culture” initiative, a sustainable urban development project led by architecture studio Paraa. Built collaboratively with Korail residents, youth groups, and community leaders, Machan transforms a former dumping ground into a vibrant cultural centre. The platform hosts a variety of social, cultural, and creative activities including: architectural design exhibitions, artwork displays, photography showcases, installation art, and performing arts. The platform collaborates with other organizations facilitating workshops on participatory planning, community mapping, and arts like indigo dyeing. The project establishes a much-needed, multifunctional open space that enables residents to gather, and participate in shared activities, effectively converting a former waste ground into a dynamic community hub. The project supports local cultural practitioners and connects their knowledge to global discussions on sustainability and the rights of marginalized communities. Floating Schools for Community Resilience by Shidhulai Swanirvar Sangstha, Pabna The “Floating Schools for Community Resilience” project by Shidhulai Swanirvar Sangstha primarily operates along the Gumani River in the Faridpur and Bhangura subdistricts of Pabna. The initiative brings schools to students in villages along the Gumani River, using a flexible fleet of boats for classrooms, health clinics, and training centers to ensure continuity of services during seasonal flooding. The floating schools lead consistent access to education. The initiative eliminates the need for students to travel to schools that may be inaccessible due to flooding, ensuring continued learning. The boats use solar energy to power onboard computers and other equipment, allowing for interactive learning. The boats can also be used as shelters during severe floods, ensuring continuous community support. Due to this initiative, over 22,500 students have graduated from the program so far, and it provides access to education for children who would otherwise have dropped out due to floods or economic hardship. The initiative ensures access to healthcare and training, even during crises, and has been replicated in other countries. The project has empowered women and girls through microloans and income-generating opportunities. The Ammodo Architecture Awards is an annual international prize presented to “advance socially and ecologically responsible architecture worldwide.” The Ammodo Architecture Awards was launched in 2024 by Stichting Ammodo, a Dutch foundation that supports art, science and architecture. The awards aim to “recognize and support architects and projects that address contemporary social and environmental challenges through innovative design and community engagement. Each recipient of Ammodo Architecture Award 2025 receives a grant to further develop their work. The complete list of 2025 awardees can be viewed on the Ammodo Architecture Award website. Written by Tasmiah Chowdhury photo courtesy: City Syntax, Shidhulai Swanirvar Sangstha
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Akij Board & Akij Door Host Business Conference 2025 at Nepal
Akij Board and Akij Door, two leading brands of AkijBashir Group, made history by successfully hosting the Evolve Beyond Business Conference 2025 on November 11, 2025, at the iconic Soaltee Hotel in Kathmandu, Nepal – marking the first time in Bangladesh’s board industry that a dealers conference was held beyond national borders. The event brought together more than 370 business associates, dealers, and representatives from across the country, creating an atmosphere of unity, pride, and celebration. Amid the breathtaking Himalayan landscape and Nepal’s serene charm, participants experienced an unforgettable blend of strategic discussions, cultural exploration, and joyous moments. The cool mountain air, picturesque surroundings, and warm Nepali hospitality made the event not only a milestone in business history but also a lifetime memory for everyone who attended. Continuing the legacy of last year’s “Evolve Beyond” theme, the 2025 edition inspired participants to push boundaries, embrace innovation, and envision greater growth. The conference served as a dynamic platform to align future business goals, strengthen partnerships, and celebrate the collective achievements of Akij Board and Akij Door’s nationwide network. The event was graced by the presence of Chief Operating Officer Khourshed Alam, Accounts and Finance Director Mohammad Zahid Hossain, Head of Sales Md. Nazrul Islam, Head of Production Sk. Zakaria Nashim, along with senior officials from various departments of the organization. Their inspiring addresses motivated participants to continue striving for excellence and to take pride in being part of Akij Board & Akij Door’s promises. A key highlight of the event was the unveiling of three groundbreaking products – SYNCHRO, FiberCem, and Ultimatt. Synchro is a premium textured board with perfectly matched designs that mimic natural materials called Synchronized Melamine Board. FiberCem is a high-performance fiber cement board offering exceptional strength and versatility for interior and exterior use. And Ultimatt is a revolutionary super-matt, silky-touch, anti-fingerprint surface ensuring superior durability, scratch resistance, and colour stability. Together, these innovations reaffirm Akij Board’s leadership in advanced, design-driven surface solutions. The conference concluded with a spectacular cultural gala night filled with music, laughter, and celebration, a fitting finale to an event that perfectly blended business vision with unforgettable experiences. As Akij Board and Akij Door Evolve Beyond Business Conference 2025, Nepal Edition came to an end, it reaffirmed that Akij Board and Akij Door stand stronger than ever – ready to evolve, lead, and shape the future of the industry with innovation, partnership, and passion.
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Global Recognition for Bangladeshi Architects
Bangladeshi architects have once again demonstrated their creative strength on the global stage, securing multiple honours at the prestigious VII Baku International Architecture Award. Organised by the Ministry of Culture of the Republic of Azerbaijan and the Union of Architects of Azerbaijan, with the endorsement of the International Union of Architects (UIA), the biennial competition has become a landmark event in the architectural calendar. This year’s edition attracted 270 applications from 38 countries, underscoring its reputation as a truly international platform for design excellence. The award is open to all qualified architects worldwide, offering opportunities for recognition across diverse categories. Against this competitive backdrop, five projects from Bangladesh stood out, earning accolades that highlight the country’s growing influence in contemporary architecture. BANGLADESHI WINNERS ACROSS CATEGORIES In Category B – Best Implemented Project of Residential Architecture, Architect Zishan Fuad Chowdhury won second prize for Neer – Vacation House, a project that blends modern design with contextual sensitivity. In the same category, Architect Mohammad Masud secured third prize for Meghrod – Sun and Cloud, a residential concept that celebrates light and openness. Bangladeshi architects also excelled in Category C – Best Implemented Interior. The Coca-Cola Office Interior by Architect Sharif Uddin Ahammed won second prize, recognised for its innovative approach to workplace design. Architect Shams Sanjida earned third prize in the same category for the Mak Design House, a project praised for its aesthetic coherence and functional elegance. In Category D – Best Non-Realised Project, Architect Sarawat Iqbal won second prize for Masjid Al Luqman, a design that reimagines sacred space with contemporary architectural language. These achievements reflect the breadth of Bangladeshi talent, spanning residential, interior, and conceptual design. STRUCTURE OF THE AWARDS The competition is divided into seven categories: A – Best implemented project of public architecture B – Best implemented project of residential architecture C – Best implemented interiors D – Best non-realised project E – Best implemented project in landscape architecture F – Best implemented project in rehabilitation and reconstruction of historic buildings G – Best publication in the field of architecture Each category recognises excellence in both realised and conceptual projects, ensuring that innovation at every stage of design is celebrated. PRIZES AND RECOGNITION The awards carry significant recognition and financial rewards. First prize winners receive 4,000 AZN (€2,240), a first-degree diploma, and a symbolic cup. Second prize winners are awarded 2,500 AZN (€1,400) and a second-degree diploma, while third prize winners receive 1,000 AZN (~€560) and a third-degree diploma. Beyond monetary value, the awards provide international visibility, positioning winners within a global network of architects and institutions. JURY AND CEREMONY The jury for the 2025 edition comprised distinguished architects from around the world: • Antonio Riverso (Italy), Professor, International Academy of Architecture • Michel Barmaki (Lebanon), Chairman of Barka Sarl • Nikos Fintikakis (Greece), UIA Jury Representative • Young-Keun Han (South Korea), President of the Korean Institute of Architects • Elbay Gasim-zada (Azerbaijan), Representative of the Organisers The results were announced at a ceremony on October 2 this year at the Four Seasons Hotel in Baku, Azerbaijan. The event reinforced Baku’s role as a hub for architectural dialogue, bringing together professionals from across continents. LEGACY AND GLOBAL REACH Since its inception in 2013, the Baku International Architecture Award has attracted architects from 53 countries, with more than 1,200 projects submitted between 2013 and 2023. Winners have hailed from Portugal, France, USA, Slovenia, Georgia, Japan, Russia, Morocco, Croatia, Italy, Bangladesh, Spain, Ukraine, Germany, Vietnam, Singapore, Kyrgyzstan, Greece, Malaysia, South Africa, Egypt, China, Iran, Kenya, UAE, Mexico, Romania, Poland, India, Brazil, and Azerbaijan. A unique tradition of the award is the symbolic gesture of sending a cup identical to that awarded to first-prize winners to France, where it is safeguarded at the headquarters of the International Union of Architects. This act underscores the award’s international spirit and its commitment to architectural heritage. Written by Nibir Ayaan
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Ceramic Bangladesh Magazine, ArchiConnect honour two-time Aga Khan Award winner Architect Marina Tabassum
Ceramic Bangladesh Magazine, a publication of the Ceramic Manufacturers and Exporters Association (BCMEA), and ArchiConnect, a buildtech platform, honoured Architect Marina Tabassum on Saturday evening, November 8, 2025, Bangladesh’s only two-time winner of the Aga Khan Award for Architecture—one of the most prestigious awards in the world for architects. At the programme, held at the Renaissance Dhaka Gulshan Hotel, the globally acclaimed architect delivered a keynote speech titled “Between Erosion and Emergence”, highlighting different aspects of the projects that brought her international recognition. Before her keynote, Architect Jalal Ahmed, founder and CEO of ArchiConnect, explained why Marina Tabassum’s achievement should be celebrated and how significant it is. He said the Aga Khan Award for Architecture is considered the “Oscar for Architects,” and winning it twice is a phenomenal success for any architect in the world. Later, Marina presented details of her various projects worldwide. Bait Ur Rouf Mosque, completed in 2012 on the outskirts of Dhaka, was the project that earned her the prestigious Aga Khan Award for Architecture in 2016. “Built with locally sourced brick and devoid of traditional Islamic iconography, it offers a contemplative space where worshippers are bathed in natural light,” she said at the event. “The structure is not just a place of prayer—it’s a refuge for a dense, underserved neighbourhood.” She also shed light on one of her most celebrated recent projects, Khudi Bari, a modular, lightweight shelter designed for ultra-low-income populations. The structure, made of bamboo and corrugated metal, can be assembled quickly and relocated as needed. Earlier, Chief Adviser Professor Muhammad Yunus, in a public congratulatory message, echoed this sentiment: “We fondly recall your first Aga Khan Award in 2016 for the Bait Ur Rouf Mosque in Dhaka, a milestone that celebrated the timeless values of spirituality, community, and simplicity in architecture.” “That recognition marked the rise of a Bangladeshi voice of global significance, and your latest achievement further strengthens that legacy.” In 2025, Khudi Bari earned Tabassum her second Aga Khan Award for Architecture, making her the only Bangladeshi architect to win the honour twice. That same year, she was commissioned to design the Serpentine Pavilion in London—an international recognition of her ability to merge local wisdom with global relevance. Later, at the day, an engaging panel discussion was organised on “Marina Tabassum and the Aga Khan Award Legacy”. The session was moderated by Architect Mahmudul Anwar Riyaad, principal designer and director of DWM4 Architects. Distinguished panelists included Architect Professor Fuad Hassan Mallick, dean of the School of Architecture and Design (SoAD) at BRAC University; Architect Professor Zainab Faruqui Ali, chairperson of the Department of Architecture at BRAC University; and Architect Nahas Ahmed Khalil, principal designer at ARC Architectural Consultants. The event concluded with closing remarks by Moynul Islam, president of BCMEA. “We always look forward to creative minds like architects and the brilliance of Architect Marina Tabassum deserves to be celebrated.” Following the panel discussion, mementos were presented to the distinguished panelists and to Architect Moushumi Ahmed, the gracious host of the evening. The honorees—Architect Marina Tabassum, Architect Jalal Ahmed, and Moynul Islam, President of BCMEA—received exquisite woodprint artworks created by renowned artist Professor Anisuzzaman Anis of the Department of Printmaking, Faculty of Fine Art, University of Dhaka Written by CBM Desk
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Urban October 2025: IAB Organises Daylong Event, Three-Day Exhibition
The Institute of Architects Bangladesh (IAB) on November marked Urban October 2025 with a day-long celebration at its Multipurpose Hall, bringing together students, professionals, and policymakers to reflect on the future of urban design in Bangladesh. Timed to coincide with World Architecture Day, World Habitat Day, and World Cities Day, the event began at 10:30 am with the opening of a three-day exhibition showcasing student urban design studio projects from architecture departments across IAB-accredited universities. Participating institutions include Bangladesh University of Engineering and Technology (BUET), Bangladesh University (BU), BRAC University (BRACU), Chittagong University of Engineering and Technology (CUET), North South University (NSU), American International University-Bangladesh (AIUB), Ahsanullah University of Science and Technology (AUST), Khulna University (KU), Shahjalal University of Science and Technology (SUST), Dhaka University of Engineering and Technology (DUET), Daffodil Institute of IT (DIT), Southeast University (SEU), Stamford University, State University, and the University of Asia Pacific (UAP). There was a roundtable discussion on “Shaping Cities: The Role and Future of the Urban Design Profession in Bangladesh” led by academicians. The exhibition offers a glimpse into the next generation’s vision for Bangladesh’s urban future, with models and visualisations of cityscapes, transport corridors, and public spaces. At 4:00 pm, the main programme commenced with a roundtable discussion titled “Interference to Planning: DAP”, led by Team Environment & Urbanisation from IAB’s 26th Executive Council. The session addressed concerns surrounding the Detailed Area Plan (DAP) and its implications for sustainable development, zoning, and citizen engagement. The theme for this year’s World Cities Day — “People-centred Smart Cities” —guided the evening’s discussions. A documentary presentation highlighted month-long Urban October activities, including editorial seminars and conventions. Experts and stakeholders then joined a panel discussion, followed by speeches from the chairperson, the chief guest. The event concluded with a vote of thanks. Held under the banner of Urban October, the celebration reaffirms IAB’s commitment to shaping inclusive, resilient, and well-planned cities. As Bangladesh continues to urbanise rapidly, today’s gathering serves as both a showcase and a call to action — urging architects to lead with vision, integrity, and public purpose. The World Cities Day 2025 event ended with the distribution of certificates. Programme Schedule: Location: IAB Office Date: November 1, 2025 Time: Exhibition: 10:30 am Main programme: 4:00 pm Written by Nibir Ayaan
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Bangladesh’s Largest Travel Expo Begins Thursday
The 13th edition of the Biman Bangladesh Travel & Tourism Fair (BTTF) 2025 opened Thursday morning at the Bangladesh-China Friendship Conference Center (BCFCC) in Dhaka, marking the return of the country’s largest international tourism expo. Organised by the Tour Operators Association of Bangladesh (TOAB), the three-day event runs from October 30 to November 1 and is expected to draw tens of thousands of visitors, including over 2,000 trade professionals. The fair is open daily from 10:00 AM to 8:00 PM, with an entry fee of Tk 50 per person. Students, freedom fighters, and July war heroes are granted free entry, ensuring inclusive access to the event. This year’s fair features participation from more than 120 local and international organisations, showcasing their products and services through around 220 stalls and 20 pavilions. Among the international participants are national tourism boards, airlines, tour operators, hotels, resorts, travel agencies, financial institutions, and healthcare providers. Twenty international hospitals are promoting medical and wellness tourism, reflecting the growing interest in cross-border healthcare travel. Biman Bangladesh Airlines is the title sponsor of BTTF 2025, joined by IHG Hotels & Resorts as the gold partner and bKash as the payment partner, with cashback offers available for visitors purchasing entry tickets via bKash. Spanning 60,000 square feet, the exhibition is divided into four themed halls—Celebrity, Carnival, Harmony, and Milky Way—designed to facilitate targeted engagement between exhibitors and attendees. The layout includes dedicated spaces for B2B sessions, seminars, country presentations, cultural performances, and documentary screenings on Bangladesh’s tourist attractions, offering a comprehensive platform for both commercial exchange and public interaction. The opening ceremony on Thursday was presided over by Md. Rafeuzzaman, president of TOAB, and formally inaugurated by Lutfe Siddiqi, special envoy to the chief adviser on international affairs, who served as chief guest. Md. Taslim Amin Shovon, director (trade & fair) at TOAB, delivered the welcome address, while Mohammad Yunus, director (media & publications), conducted the programme. Friday’s programme includes a B2B networking session, multiple seminars, and a roundtable discussion, while Saturday will feature a grand raffle draw and the closing ceremony. Daily cultural shows and sideline events are expected to enhance visitor engagement. TOAB, which has been organising BTTF annually since 2007, aims to position Bangladesh as a competitive player in the global tourism market. With 751 active members, the association regularly participates in international fairs such as ITB Berlin, WTM London, and FITUR Madrid, and collaborates with the Ministry of Civil Aviation and Tourism, Bangladesh Tourism Board, and Bangladesh Parjatan Corporation. According to organisers, BTTF 2025 is designed to promote both inbound and outbound tourism, with a special focus on niche segments including culinary, cultural, leisure, cruise, and adventure travel. Business and corporate travel also feature prominently, alongside medical tourism, which has seen increased demand in recent years. Distinguished guests at the inauguration included Saima Shahin Sultana, chairman of Bangladesh Parjatan Corporation; Naila Ahmed, joint secretary (tourism-1 branch) of the Ministry of Civil Aviation and Tourism; Dr. Md. Shafiqur Rahman, managing director and CEO of Biman Bangladesh Airlines; Md. Mainul Hasan, additional IGP of Bangladesh Tourist Police, and Nuzhat Yasmin, CEO of Bangladesh Tourism Board, alongside TOAB advisors, directors, and steering committee members. Written by Nibir Ayaan
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CUET to Host 3rd International Conference on Green Architecture
The Chittagong University of Engineering and Technology (CUET) will host the third International Conference on Green Architecture (ICGrA 2025) from December 4-5 this year, bringing together more than 100 scholars and thousands of professionals to explore sustainable design and community-scale environmental responsibility. The conference will be jointly organised by the Green Architecture Cell (GrACe) and the Department of Architecture (DoA) of Bangladesh University of Engineering and Technology (BUET) and Chittagong University of Engineering and Technology (CUET). Themed “Healthy Buildings on the Path to nearly Zero Emission Communities (neZECom),” the event will examine the relationship between building-level well-being and broader sustainability goals. The Bengali interpretation of neZECom, “Reduce self-need,” reflects the conference’s ethos: a low-emission future begins with mindful consumption and responsible environmental behaviour. Building on the success of its earlier editions in 2017 and 2018, ICGrA 2025 continues a legacy of fostering awareness and collaboration on sustainability in the built environment. The conference venue, CUET’s Department of Architecture, lies between the Bay of Bengal and the Chittagong Hill Tracts, offering a scenic setting for dialogue and discovery. The conference is supported by a wide network of collaborators, including the Institute of Architects Bangladesh (IAB), Bangladesh Institute of Planners (BIP), the ZEMCH Network at the University of Melbourne, and architecture departments from DUET, KUET, RUET, KU, SUST, MIST, and Dhaka University, alongside institutional partners such as the Bangladesh House Building Finance Corporation (BHBFC) and alumni associations from BUET and CUET. Prof. Dr. Md Ashikur Rahman Joarder of BUET is chairing the ICGrA 2025 and Prof. Dr. Sajal Chowdhury of CUET is the conference secretary. The 2025 edition will feature keynote addresses, paper and poster presentations, exhibitions, cultural events, and the publication of proceedings. Selected papers will be considered for publication in indexed journals. Five parallel workshops will be organised on separate topics as part of the third ICGrA 2025. Each workshop will be led by distinguished faculty members from BUET and CUET, offering participants the opportunity to engage directly with experts in the field. Workshop Topics and Leaders • Thermal Comfort Led by: Prof. Dr. Khandakar Sabbir Ahmed, BUET Focus: This workshop will delve into strategies for achieving optimal thermal conditions in buildings, addressing passive cooling, material selection, and climate-responsive design to enhance occupant comfort and energy efficiency. • Acoustics Led by: Prof. Dr. S. M. Najmul Imam, BUET Focus: Participants will explore acoustic performance in architectural spaces, including noise control, sound insulation, and design techniques for creating healthy auditory environments in residential and public buildings. • Daylighting Led by: Prof. Dr. Md. Ashikur Rahman Joarder, BUET Focus: This session will examine the role of natural light in building design, covering daylight simulation, visual comfort, energy savings, and integration of daylighting strategies into architectural planning. • Environmental Experience Design (EXD) Led by: Prof. Dr. Sajal Chowdhury, CUET Focus: The workshop will introduce participants to user-centred environmental design, focusing on sensory experience, spatial perception, and psychological well-being in built environments. • Computational Building Information Modeling (BIM) Led by: Md Mizanur Rahman of BUET Registration Details Date: December 5, 2025 Time: 10:00 AM – 4:00 PM Venue: CUET, Chattogram, Bangladesh Early Bird Registration (per topic): Tk 5,000 (by October 31, 2025) Regular Registration (per topic): Tk 7,000 (by November 15, 2025) Seats are limited, and participants must complete a separate registration for each workshop they wish to attend. Individual registration is allowed for any of the four topics. Awards will be presented for Best Paper, Best Presentation, and Best Poster. Topics for submission span health and well-being, green buildings, zero energy and emissions, community and lifestyle, user-centred design, climate resilience, decarbonisation, circularity, life cycle assessment, energy efficiency, vernacular architecture, retrofitting, conservation, innovation, policy, materials, methods, water and waste management, safety, and pedagogy. Organisers say ICGrA 2025 aims to drive practical action, inform policy, and strengthen academic and professional collaboration across disciplines. Written by Nibir Ayaan
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Architect Irteza Ameen to Deliver Fall 2025 Lecture
The Department of Architecture at Bangladesh University is set to host the third lecture of its Fall 2025 series, spotlighting the power of visual storytelling in design. Titled “From Concept to Composition: Building Visual Narratives,” the session will feature Architect Irteza Ameen, founder of the multidisciplinary studio Design Commune. This lecture marks the 14th instalment of Chorcha, the department’s signature platform for architectural discourse. Ameen will guide audiences through the evolution of design thinking—from the spark of abstract ideas to their transformation into spatial compositions where form, material, and graphic language converge to express identity and intent. Drawing from a rich and varied portfolio, Ameen will demonstrate how visual storytelling functions not only as a design tool but as a communicative language—shaping how we interpret, inhabit, and emotionally connect with space. Ameen, a Bangladeshi architect and designer, is known for his seamless integration of architecture, graphic design, and user experience. His studio, Design Commune, operates at the intersection of built form and cultural narrative, crafting works that are both contextually grounded and visually articulate. His notable collaborations include archival and publication projects on three of Bangladesh’s architectural luminaries—Architect Muzharul Islam, Architect Bashirul Haq, and Professor Shamsul Wares—as well as a wide array of architectural, interior, and exhibition design ventures. Through his practice, Ameen exemplifies a rare synthesis of architectural rigour and graphic precision, producing designs that resonate with character, clarity, and cultural depth. Event Schedule: Date: Saturday, November 1, 2025 Time: 3:30 pm Venue: Room 101, Department of Architecture, Bangladesh University. Written by Nibir Ayaan
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FORM.3 Architects Wins Holcim Foundation Awards 2025
FORM.3 Architects and team have been honored with a Regional Award in the Asia Pacific category at the Holcim Foundation Awards 2025. The firm has won the prestigious award for their project: ‘Conservation of Old Dhaka Central Jail History, Historical Buildings & Development of Surroundings Area’. The project reimagines a historic jail site in Old Dhaka as a vibrant public realm, merging adaptive reuse, passive design, and local craft to create a culturally rooted and economically viable model for sustainable urban renewal. From the team of Form.3 Architects, the historical site served as a fort from 𝐩𝐫𝐞-𝐌𝐮𝐠𝐡𝐚𝐥 𝐞𝐫𝐚 before it turned into a jail in 𝟏𝟕𝟖𝟖 (and Lunatic asylum later) by the Britishers, and continued to serve as jail till 2016 after 𝟐𝟐𝟖 𝐲𝐞𝐚𝐫𝐬. Every brick in the compound whispers the tale of Dhaka’s origin — echoing the rise and fall of a region etched in time. The new developments around the historical conservation area are intended to create 𝐩𝐮𝐛𝐥𝐢𝐜 𝐨𝐩𝐞𝐧 𝐬𝐩𝐚𝐜𝐞𝐬 𝐰𝐢𝐭𝐡 𝐜𝐢𝐯𝐢𝐜 𝐚𝐦𝐞𝐧𝐢𝐭𝐢𝐞𝐬 such as car parking, wider roads with footpaths, proposed new roads, parks, children’s parks, conserved waterbodies, experiential waterfront walkways, mosques, playgrounds, food courts and restaurants, traditional shops, a gymnasium, a swimming pool, a cineplex, and multipurpose spaces — all within one of the most densely populated neighborhoods in the world. The Holcim Foundation Awards are the world’s most significant competition celebrating sustainable design and construction — spotlighting projects that are reshaping the built environment and driving transformation across the construction sector. Founded in 2003, the Holcim Foundation has led the global movement for sustainable design and construction, guiding the global building industry with its visionary initiatives. “This year’s 20 winners use the right materials in the right places, bring communities into the process from day one, and design with nature as an ally. The projects are inspiring because the solutions they offer are replicable and implementable – they set a credible path forward for industry,” says Laura Viscovich, Executive Director, Holcim Foundation. The Holcim Foundation for Sustainable Construction has announced twenty winning projects for the 2025 Holcim Foundation Awards, spanning Asia Pacific, Europe, Latin America, the Middle East and Africa, and North America with a prize pool of USD 1 million. An event will be held in Venice on November 20, 2025, to showcase all the winners, with a global live stream for the worldwide audience. Photo Credit City Syntax
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Rezwan’s floating school wins Unesco Confucius prize
Bangladeshi architect Mohammed Rezwan’s solar-powered floating schools have received the Unesco Confucius Prize for Literacy 2025, one of the world’s highest honours for advancing education and lifelong learning. The Chinese government sponsors this award, said a press release. Among hundreds of nominations worldwide, Unesco selected three winners: Bangladesh’s Shidhulai Floating Schools, Ireland’s Learn with NALA eLearning, and Morocco’s Second Chance School and Inclusive Education Program. The 20th award ceremony was held on September 27 in Qufu, Shandong Province, China, the birthplace of Confucius. Rezwan accepted the trophy and certificate on behalf of his organisation, Shidhulai Swanirvar Sangstha, which launched the world’s first floating school in 2002. Growing up in Chalanbeel, he saw how annual floods forced schools to close for months. His simple yet transformative solution was to take schools to the water. Today, solar-powered boats serve as classrooms, libraries, and training centres that keep learning alive even when villages are submerged. Unesco praised the initiative for “delivering literacy education to marginalised learners in flood-prone regions through locally rooted innovation.” The Shidhulai floating school programme has now been replicated across Bangladesh by other NGOs and inspired similar projects throughout Asia, Africa, and Latin America. The Bangladesh government has incorporated Rezwan’s floating schools into the National Adaptation Plan 2050. “Education is not only about reading and writing,” Rezwan said. “It is about fostering peace, equality, and resilience. With literacy and knowledge, our youth can build a future where no disaster prevents children from learning.” A photo series titled “Boat Schools of Bangladesh — Future That Floats” is on display at the French National Museum of Immigration History’s Migrations and Climate exhibit in Paris through April 5, 2026. The TRT World documentary “Bangladesh Turns Tide on Climate Change with Floating Schools” is a finalist for the Save the Children Global Media Awards 2025. Rezwan’s work is also featured in Julia Watson’s book Lo–TEK: Water, which highlights 22 contemporary TEK-based innovations worldwide. Source: The Daily Star
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Cubeinside Design bags DNA Paris Design Awards 2025
Cubeinside Design Ltd, a prominent Bangladeshi architectural and interior design firm, has earned international acclaim after being named one of the winners at the DNA Paris Design Awards 2025—an internationally sought-after recognition for architects and creative people. The award-winning project, Bait Ur Rayyan, is a small-scale mosque designed by Cubeinside, located near the banks of the mighty Arial Kha River in Bangladesh’s Madaripur. The Bangladeshi firm was the consultant for the project, built for the Rokeya Feroza Foundation on a land area of 7,346 square metres. Cubeinside says: “This particular design is an exercise of abstract interpretation of basic symbolism of Islamic architecture. Geometry has been the principal tool for this abstraction in terms of transforming both the form and spatial quality.” The DNA Paris listed Khandaker Ashifuzzaman and Shakhawat Hossain Rocky as the lead designers of Bait Ur Rayyan, which won the award in the Public Architecture category. The annual awards also mentioned Mehri Farnaz, Anis Khan Shanto and Abdullah Al Jaber as members of the mosque’s design team. About the mosque, it was noted on the DNA Paris website: “A human-centric approach created a space for community, keeping the scale sacred yet intimate, using local materials like red bricks, while lights played the most vital role to uplift the spiritual entity of this mosque.” “The concept of ‘Abstract Semiotics’ was applied in measurable mass and space, and other immeasurable aspects with a deeper perceptual level.” DNA Paris, which celebrates the best in global design from over 70 countries, recognises excellence in Architecture, Landscape, Interior, Product and Graphic Design, with entries divided into ‘Professional’ and ‘Emerging’ categories. The latter is reserved for outstanding student work. Farmani Group, a global authority in architecture, design and photography curation, in partnership with In Between, a Paris-based collective of creatives and thinkers, jointly organise the DNA Paris Design Awards. In addition to typology-based subcategories, the most distinguished entries across all five disciplines and both sections are awarded the Grand Prix—the highest honour of the programme. Recipients of the Grand Prix receive a trophy created by Studio Briand & Berthereau, designed to strike a balance between form and function, while addressing the financial and environmental constraints faced by every project. All submissions are evaluated by an expert jury of design luminaries. The jury committee is comprised of designers, editors and creatives who are devoted to true excellence in design. The juries come from different countries, including the UK, the USA, Spain, Argentina, Japan, Sweden, France, Kenya, Thailand, Brazil, Italy, South Korea, Hong Kong, Mexico, Greece and Saudi Arabia. The evaluation of entries is based on a range of criteria that are constantly adapted to current standards. DNA Paris has already announced all winners across different categories for this year, who will be honoured at an event in Paris on October 24. Written by Nibir Ayaan
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Prof Rafiq Azam to Headline DNA Paris Design Awards 2025
Prominent Bangladeshi architect Professor Rafiq Azam is all set to join the 2025 edition of the DNA Paris Design Awards—one of the most important design awards worldwide—as a keynote speaker. The internationally renowned architect, born in Old Dhaka, Bangladesh, is scheduled to participate in the show beginning on October 24 this year. He is widely recognised for his unique approach to green architecture, which weaves together tradition, nature and mysticism. Rafiq Azam, founder of SHATOTTO—an architecture firm dedicated to green living—draws inspiration from Bengali poets and mystics, while incorporating artistic influences from global masters. His designs place particular emphasis on light, shadow, water and air. With more than 30 years of experience, Professor Azam has received a number of international accolades, including the 2025 ULI Asia Pacific Awards for Excellence, the CAA Robert Mathew Lifetime Achievement Award in 2022, the ARCASIA Gold Medal, the LEAF Awards, and the UIA & UN-HABITAT Awards in 2022. His work and perspectives have appeared in leading publications such as TIME Magazine, The New York Times and CASA Vogue. As a visiting professor at BRAC University, Professor Azam supports emerging architects through the Rafiq Azam Travel Bursary programme. The DNA Paris Design Awards, where the renowned Bangladeshi architect will deliver a keynote speech, celebrate the best in global design from over 70 countries. The annual awards recognise excellence in Architecture, Landscape, Interior, Product and Graphic Design, with entries divided into ‘Professional’ and ‘Emerging’ categories. The latter is reserved for outstanding student work. The DNA Paris Design Awards are organised by the Farmani Group, a global authority in architecture, design and photography curation, in partnership with In Between, a Paris-based collective of creatives and thinkers. In addition to typology-based subcategories, the most distinguished entries across all five disciplines and both sections are awarded the Grand Prix—the highest honour of the programme. Recipients of the Grand Prix receive a trophy created by Studio Briand & Berthereau, designed to strike a balance between form and function, while addressing the financial and environmental constraints faced by every project. All submissions are evaluated by an expert jury of design luminaries. The jury committee is comprised of designers, editors and creatives who are devoted to true excellence in design. The juries come from different countries, including the UK, the USA, Spain, Argentina, Japan, Sweden, France, Kenya, Thailand, Brazil, Italy, South Korea, Hong Kong, Mexico, Greece and Saudi Arabia. The evaluation of entries is based on a range of criteria that are constantly adapted to current standards. The 2025 edition’s project submission early bird deadline began on December 13, 2024, while the regular deadline ended on May 9 this year. However, the late final deadline was extended until May 23 of the current year. The entry fee for professional project submissions in the architecture, interior, landscape and product categories was 350 British pounds, while it was 100 British pounds for the graphic category. For students, the entry fee for every category was set at 75 British pounds. DNA Paris has already announced the winners for this year, who will be honoured at an event in Paris on October 24. This year, Bait Ur Rayyan—a project by Cubeinside Design Limited, a Bangladeshi architecture firm—has emerged as one of the winners of the DNA Paris Design Awards in the Public Architecture category. On the DNA Paris website, Khandaker Ashifuzzaman and Shakhawat Hossain Rocky are listed as the lead designers of Bait Ur Rayyan, with Mehri Farnaz, Anis Khan Shanto and Abdullah Al Jaber named as members of the design team. Written by Nibir Ayaan
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AkijBashir Group has entered into a strategic partnership with the Infrastructure Development Company Limited (IDCOL)
In a major step toward sustainable industrial growth, AkijBashir Group has entered into a strategic partnership with the Infrastructure Development Company Limited (IDCOL) to promote energy efficiency and renewable energy across its operations. The collaboration, formalized at an event held at Sheraton Dhaka, marks a significant milestone in advancing green industrial practices in Bangladesh. AkijBashir Group has been funding several sustainability projects in the last couple of years through its Energy Efficiency and Rooftop Solar financing programs funded by IDCOL. These projects have enabled the deployment of industrial rooftop solar capacity of more than 90MWp, of which over 60MWp has been deployed and has become one of the largest solar portfolios in the private sector in Bangladesh. One of the highlights of the joint venture is a pioneer project of Janata Jute Mills Ltd. in Boalmari, Faridpur, that will become the first in the world to be a fully operational jute mill using renewable energy by the first quarter of 2026. In the long-term sustainability, the Group targets to produce a renewable energy of 1,000 MWh every day by 2027. During the event, AkijBashir Group Managing Director, Mr. Taslim Md. Khan, and IDCOL Executive Director and CEO, Mr. Alamgir Morshed, emphasized the role of collaboration in the development of the future of the low-carbon industry. AkijBashir Group is determined to be 100% renewable in all its manufacturing plants by the year 2030, which is in line with its vision Beyond Tomorrow- impetus on sustainability, innovation, and industrial perfection.
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AkijBashir Group and MHM Properties Ltd. Partner to Enhance Premium Living Experiences in Bangladesh
AkijBashir Group has signed a strategic partnership with MHM Properties Ltd. to strengthen collaboration in providing premium building material solutions and enhancing customer value in Bangladesh’s real estate and construction sectors. The Memorandum of Understanding (MoU) was signed on October 14, 2025, marking a significant step toward integrating design excellence, innovation, and quality in modern living spaces. In the deal, MHM Properties Ltd. will promote and sell the top brands of AkijBashir, namely, Akij Ceramics, ROSA Sanitaryware, Akij Particle Board Mills Ltd., Akij Door, Akij Bathware, and AkijBashir Glass using its own network and outlets. The partnership is expected to provide the tiles, sanitaryware, bathware, boards, doors and glasses, as a one-stop solution in the world-class quality and design of their products, with the aim of having a trusted partner. Directors of MHM Properties Ltd. Mr. Mahmudul Hasan Tonmoy, Director, Akij Ceramics Ltd. Mr. Mohammed Ashraful Haque, General Manager, Sales, and AkijBashir Group Chief Operating Officer were the signatories of the MoU. At the signing, Mr. Khourshed Alam remarked that we are happy to collaborate with MHM Properties Ltd. in order to increase the outlets of the various product lines of AkijBashir. This alliance is indicative of our mission to combine design, innovation, and quality to augment living standards in the contemporary setting in Bangladesh. Mr. Mahmudul Hasan Tonmoy also added that this is a joint venture that we want to add more value and ease to our customers as we provide a broad spectrum of high-end building materials and finishes that are both fashionable and timeless. The partnership brings a fresh start, and combining expertise and innovation, the coalition will define exquisite, sustainable, and inspirational homes throughout Bangladesh.
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An Artist’s Meditative Take on the Textile Crisis
On 10th October, Bengal Shilpalay’s Quamrul Hassan Hall made room for Yasmin Jahan Nupur’s solo exhibition to breathe in silence. Silence that carries the weight of unspoken resistance, forged over decades. Each corner is equipped with different kinds of soft sculptures and artworks, woven and drawn with bare hands. These sculptures will urge you to zoom in, squint, and at times, resist touching and feeling their texture. The space is surrounded by a variety of installations, including tapestry, jamdani woven in a grid-like matrix, a golden net made of zari threads, Bangla phrases stitched in muslin fabric, and hand-drawn textures and patterns. The sculptures, made from gentle materials like thread and wool, celebrate their natural malleability and softness. Her meticulously executed works on paper using only pen and watercolor draw viewers into their quiet depths. In contrast, Nupur’s brass sculptures defy expectation, transforming rigid metal into forms that appear almost supple. As one takes a closer look, they can find the artist’s sheer brilliance of witty and powerful juxtaposition of delicate threads and robust objects. One of the guests at the opening, globally famous architect Marina Tabassum, who won Aga Khan Award twice, reflected on the powerful presence of silence—describing it as an equally vital element in architecture, a space everyone strives to reach, yet few truly achieve in the process of creation. She observed that Nupur’s works embody that very quality, carrying a quiet strength despite being crafted from simple materials like strand and wool. The softness of Nupur’s sculptures and the intricacies of her work, in fact, carry a more concrete and unsettling truth—illuminating the fading textile legacy of Bengal. Behind these delicate forms lie the stories of countless artisans unable to continue their craft, disrupted not only by economic pressures but also by colonial legacies and ecological changes. A powerful installation in the exhibition was a dazzling hanging burqa. While the traditional burqa symbolizes modesty and concealment, Nupur reimagined it as a three-dimensional form embroidered with gold and silver zari threads—not as a symbol of elegance, but as a testament to distressed endurance. Nupur’s professor, Abul Monsur, recalls how her gentle demeanor during her time at the Fine Arts Institute, CU, fooled him into perceiving her as rather fragile. Her quiet resilience and unwavering devotion to her craft beneath that delicate surface only proved him wrong over time. Yasmin Jahan Nupur not only hails a heavy portfolio of glorious works but also became a household name in the international galleries. This second solo exhibition is Nupur’s careful documentation and a commitment to preserving the vanishing heritage of Bangladesh’s textiles. As visitors walk through the gallery, they are compelled to stop, gaze, and ultimately begin to unravel the silences behind each piece. “Even though the voice may be muted or just a soft whisper (mridu shor), the visitors must take the time to truly listen,” quotes curator Tanzim Wahab. “Unravelling Silence” is on view until November 22, every day from 4 to 8 PM, except Sundays, at Bengal Shilpalay. Written by- Fariha Hossain
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Architectural Design Contest Launched to Redesign Dhaka Residential Model College
A nationwide architectural design competition has been launched to transform the campus of Dhaka Residential Model College (DRMC), one of Bangladesh’s most prestigious educational institutions. The initiative, jointly organised by the Institute of Architects Bangladesh (IAB) and DRMC, calls for proposals to design a ten-storied academic building that will serve as a modern educational hub for over 3,000 students. The competition aims to address long-standing infrastructural challenges at DRMC, which currently operates in two shifts due to a shortage of classroom space. With most of its buildings dating back to the 1960s, the college’s facilities are no longer adequate to meet the demands of its growing student body and evolving academic programs. A Legacy in Transition Established in 1960, DRMC spans 52 acres in Mohammadpur and accommodates approximately 6,000 students across various academic levels. Initially governed by the Central Government of Pakistan, the institution underwent several administrative transitions before being placed under the Ministry of Education in 1972. Despite its autonomous status and historical significance, the college’s infrastructure has aged considerably, prompting the Board of Governors (BOG) to approve a major upgrade during its 162nd meeting on June 26, 2025. The new academic building will be constructed on a 3,000 sq.m site currently occupied by a grassy football field. According to the competition brief, the structure will be a reinforced concrete (RCC) building with pile foundation, designed to accommodate students from classes 9 to 12. Facilities will include a cafeteria, exam halls with 800 seats, modern toilets, and parking provisions. Competition Details and Design Vision The competition, launched on October 5, 2025, is a single-stage open call for Bangladeshi architects. It seeks innovative, sustainable, and contextually responsive designs that integrate seamlessly with the existing campus. Architects are encouraged to use local materials and environmentally friendly technologies, with an emphasis on rapid construction techniques and low future maintenance costs. Design considerations outlined in the brief include: climate responsiveness and passive cooling, universal accessibility, integration of landscape and open spaces, cultural and contextual relevance, interconnectivity with existing academic buildings, energy efficiency and future-readiness The building’s shape may follow an I, U, hollow box, or full box configuration, with each floor serving distinct academic and administrative functions. The ground floor will house parking and essential services, while upper floors will include classrooms, laboratories, faculty offices, and student amenities. Organisers and Eligibility The competition is jointly organised by IAB and DRMC. Eligible participants must be regular IAB members with at least eight years of professional experience and compliance with the Dhaka Mohanagar Imarat Nirman Bidhimala, 2008. Registration, which requires a Tk 2,000 fee, is open from October 5 to October 11, 2025, at the IAB office in Sher-E-Bangla Nagar, Dhaka. Each participant will receive a unique registration code and may submit only one proposal. All submissions must maintain strict anonymity, with documents marked only by a blank square box and the registration number. Any breach of anonymity or direct contact with jury members will result in disqualification. The design competition is going to be launched on October 5,2025, inviting participants to register by October 12. A query session will open on October 13, and all inquiries will be addressed by October 15. Participants must submit by November 20. Jury Deliberation will take place in November 22 to December 9, followed by an exhibition scheduled for December 9 to December 10, 2025. Submissions must include conceptual sketches, detailed plans, elevations, sections, renderings, and a physical model. Reports on design concepts and estimated construction costs are required in sealed envelopes. Digital copies must be submitted via DVD or pen drive. The brief also requires labelling with the 14-digit registration number and a blank square box. The jury panel comprises five distinguished members: Brigadier General Mohammed Zaber Hossain, PhD – Principal, DRMC, Moshiur Rahman – Acting President, Old Remians Welfare Association, Ar Jalal Ahmed – Principal Architect, JAARCHITECTS, Ar Patrick D’ Rozario – Principal Architect, Synthesis Architects Limited, and Ar S.M. Nazimuddin Payel – Associate Professor, Architecture Discipline, Khulna University. The jury will evaluate entries based on innovation, contextual relevance, sustainability, and feasibility. Their decisions are final and binding, with results to be announced during the exhibition. Awards and Future Engagement The competition offers substantial monetary rewards and professional recognition: First Prize: Tk 2,50,000 and a certificate, Second Prize: Tk 1,75,000 and a certificate, Third Prize: Tk 1,00,000 and a certificate, Special Mentions (3): Tk 25,000 each and certificates, if awarded by the jury. The first-prize winner will be formally appointed as the design architect for the project, subject to compliance with IAB’s Code of Ethics and Professional Conduct. The appointment will follow Rule 111 of the Public Procurement Rules 2008, with consultancy fees set at 6% of the total construction cost (inclusive of AIT, exclusive of VAT). If the first-prize winner is disqualified, the second or third-place winners may be considered. A New Master Plan for DRMC The competition is part of a broader master plan revision for DRMC’s campus. The existing master plan, which did not account for new academic buildings, is being restructured to accommodate future growth and integration with existing facilities. Key components of the revised master plan include: vertical extension of Academic Building-3, extension and renovation of Kudrot-E-Khuda and Joynul Abedin Houses, construction of a duplex principal residence, a G+6 vice-principal residence, renovation of the boundary wall, upgradation of the water distribution system, and installation of a 500 KVA electric substation These developments aim to modernise the campus while preserving its legacy and enhancing operational efficiency. Legal and Ethical Framework Participants must adhere to the competition’s legal and regulatory principles. The organiser reserves the right to cancel the competition, in which case entries will be evaluated and prizes awarded. However, none of the submitted designs may be executed without the architect’s consent. In such cases, the first-prize winner will receive three times the prize money as compensation. DRMC will retain ownership of submitted documents until results are published. Entrants will retain copyright but grant DRMC a perpetual, royalty-free licence
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Akij Ceramics Opens Exclusive Showroom in Savar’s Hemayetpur
Leading tiles brand Akij Ceramics has opened a new exclusive showroom in Savar’s Hemayetpur, bringing its signature craftsmanship and contemporary designs closer to customers. Located on Singair Road, the new outlet — Usha Sanitary & Tiles House — offers an enhanced retail experience with immersive displays, modern layouts, and a curated selection of Akij Ceramics’ finest collections. Mohammad Khourshed Alam, Chief Operating Officer of Akij Bashir Group; Mohammed Ashraful Haque, General Manager (Sales) of Akij Ceramics Ltd; and Md Abul Khayer, proprietor of the showroom, attended the inauguration ceremony on October 12 alongside senior officials of the group. A six-time Best Brand Award and two-time Superbrands Award winner, Akij Ceramics continues to champion innovation, design excellence, and customer trust — staying true to its timeless promise, “Promise of Perfection.” With this expansion, Akij Ceramics reinforces its vision of transforming everyday spaces into expressions of elegance, quality, and modern living. Written By Nibir Ayaan
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Fortress Group to Feature Leading Product Lines of AkijBashir Group
AkijBashir Group has recently teamed up with Fortress Group to expand the reach of high-quality building materials and improve the standard of premium living in Bangladesh. The two companies signed a strategic Memorandum of Understanding (MoU) at a programme on October 9. The MoU outlines plans for enhanced cooperation between the two companies, with Fortress Group set to feature AkijBashir’s leading product lines. Products from Akij Ceramics, ROSA Sanitaryware, Akij Board, Akij Door, and Akij Glass will be featured by Fortress. As part of the collaboration, customers will gain access to a complete range of tiles, sanitaryware, bathware, boards, doors, and glass products. Both companies said the partnership is aimed at providing an integrated offering for modern construction and interior design needs. AkijBashir Group Chief Operating Officer Mohammod Khourshed Alam and Fortress Group Chairman Lutfur Rahman signed the MoU in the presence of senior officials from both organisations. “We are delighted to collaborate with Fortress Group in expanding the reach of AkijBashir’s premium product portfolio to a broader customer base,” said Alam. Rahman said the partnership would allow Fortress Group to introduce a wider selection of quality products to customers, enhancing convenience and lifestyle. The two companies said the agreement marks the beginning of a new chapter in their efforts to support the creation of elegant, sustainable, and modern living spaces across the country. Written by Nibir Ayaan
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World Investor Week rings the bell on financial fraud awareness
A global initiative to promote investor education and protection is underway as World Investor Week 2025 runs from October 6 to 12, led by the International Organization of Securities Commissions (IOSCO). Now in its latest edition, the campaign aims to raise awareness about the importance of financial literacy, responsible investing, and the protection of investors in an increasingly digital and complex financial landscape. The global campaign features participation from securities regulators, exchanges, financial organisations, and educators across six continents, with events tailored to national and regional contexts. Activities include public awareness drives, webinars, training sessions, and outreach campaigns designed to help investors make informed decisions and guard against fraud. A flagship feature of the campaign is the “Ring the Bell for Financial Literacy” initiative, held in collaboration with the World Federation of Exchanges (WFE). Stock exchanges around the world symbolically “ring the bell” to demonstrate their commitment to investor education and market transparency. Focus on Fraud, Digital Threats, and Investor Awareness This year’s programme includes a strong emphasis on the emerging threat of digital fraud, particularly those involving artificial intelligence and online scams. On October 7, U.S. regulators including the National Futures Association (NFA), FINRA, and the Commodity Futures Trading Commission (CFTC) hosted a webinar titled “Deconstructing to Disrupt Fraud”, which was a two-part event featuring Dr. Arda Akartuna. The session explored how AI technologies are being weaponised by fraudsters, and how regulators and investors can respond with vigilance and education. In Indonesia, the national financial regulator Otoritas Jasa Keuangan (OJK) is hosting a regional webinar on October 9 titled “Empowering Investors: Invest Wisely and Stay Safe from Fraud and Scams.” The event features speakers from IOSCO’s Committee on Retail Investors and will discuss practical strategies to improve retail investor protection. Investor education for older adults is also a priority in this year’s campaign. In the United States, the CFTC, FBI, and AARP have partnered on outreach aimed at Americans aged 50 and older, focusing on helping them identify and avoid scams. The organisers report that over 250 participants registered for this dedicated session. Global Backing and Institutional Support World Investor Week is supported by a wide range of international partners, including: The World Bank OECD G20 Sustainable Stock Exchanges (SSE) Initiative International Financial Reporting Standards (IFRS) Foundation European Fund and Asset Management Association (EFAMA) These partnerships reinforce IOSCO’s broader mission to promote not only awareness, but also long-term behavioural change among investors and institutions globally. As the global standard-setter for securities regulation, IOSCO collaborates closely with the Financial Stability Board (FSB) and the G20 to ensure that investor protection remains a key pillar of global financial integrity and stability. Building Resilience in a Complex Investment Landscape With financial markets rapidly evolving due to digitisation, AI technologies, and cross-border investment platforms, retail investors are exposed to new complexities and risks. World Investor Week serves as a timely reminder of the need for robust financial education, stronger regulatory safeguards, and proactive public engagement. As the campaign continues through October 12, organisers hope to empower individuals with the knowledge to navigate risks, detect fraud, and contribute to more resilient financial markets across all levels of society. Written By Nibir Ayaan
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Bangkok to host ASEAN Ceramics & Stone 2025 expo
Over 200 international companies and brands from the ceramics and natural stone sectors are set to convene at the ASEAN Ceramics & ASEAN Stone 2025 exhibition, scheduled to take place from October 15-17 this year at the IMPACT Exhibition and Convention Centre in Bangkok. Organised by MMI Asia, the regional arm of Messe München, in partnership with Asian Exhibition Services (AES) Ltd., the event is expected to attract more than 4,000 trade visitors. It will also facilitate over 400 buyer-seller connections, aiming to generate meaningful connections and commercial opportunities for companies across the region and beyond. Industry professionals can register for free, making the exhibition highly accessible to businesses of all sizes. The 2025 edition also marks a significant milestone with the official debut of ASEAN Stone in Thailand. This dedicated segment is being launched with the backing of Confindustria Marmomacchine, the Italian association representing the stone machinery and natural stone industry, and the Mining Council Industry Thailand (MICT), which is expected to bring an influx of global exhibitors to the Thai capital. Running alongside ASEAN Ceramics, which celebrates its ninth edition this year, the co-located exhibitions position themselves as Southeast Asia’s leading trade platform for sourcing the latest innovations, materials, machinery, and services in both the ceramics and natural stone industries. While ASEAN Ceramics covers the full spectrum of white-ware, heavy clay, and advanced ceramics manufacturing, ASEAN Stone will focus on cutting-edge tools, technologies, chemicals, and raw stone materials shaping the natural stone industry. The dual event enjoys strong backing from a wide network of industry associations and government bodies, reinforcing its status as a cornerstone trade fair for the region. Notable supporters include the Department of Industrial Promotion (DIPROM), Federation of Thai Industries, Ceramic Industry Club of Thailand (FTI-CICT), and the Thai Ceramic Society (TCS). Additional international support comes from ACIMAC (Italy), CCPIT – Building Materials Sub-Council (China), Vietnam Building Ceramic Association (VIBCA), and the Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA). Conferences, Knowledge Sharing, and Cultural Elements The exhibition will commence with the ASEAN Ceramics & ASEAN Stone Conference, themed “Pioneering a Sustainable & Innovative Future for Ceramics & Stone in Southeast Asia.” The conference will bring together over 30 experts, speakers, and panelists to explore the future trajectory of these industries. Sessions will address themes such as sustainable production, digital transformation, regional competitiveness, and the role of advanced materials in future-ready infrastructure. Adding depth to the programme, exclusive pre-event factory tours will be hosted by leading Thai manufacturers Crown Ceramics and The Siam Refractory Industry Co., Ltd. These tours are designed to give attendees an insider’s look at state-of-the-art manufacturing processes, innovations in energy efficiency, and the real-world application of materials and automation in ceramic production. A key feature of this year’s event is the ASEAN Ceramics & Stone Talents Hub, an initiative aimed at bridging the gap between academia and industry. The Talents Hub will offer an important platform for companies to engage with emerging professionals, recent graduates, and technical specialists. It’s also a response to the growing need for skilled talent across materials science, design, and engineering within Southeast Asia’s fast-growing ceramics and stone sectors. Celebrating the region’s cultural roots, the event will also showcase live pottery-making demonstrations led by expert artisans from Bangkok and Nakornratchasima. These demonstrations, which use locally sourced clay, aim to highlight Thailand’s long-standing ceramic heritage, blending tradition with the creative possibilities of contemporary design. Science, Academia and Industry Collaboration Running concurrently with the trade exhibition is the International Conference for Traditional and Advanced Ceramics (ICTA). Organised by the Thai Ceramic Society (TCS) in partnership with the National Metal and Materials Technology Center (MTEC) and Chulalongkorn University’s Department of Materials Science, the ICTA conference will bring together over 15 universities and top regional researchers. The conference is expected to serve as a platform for sharing cutting-edge scientific research, university–industry collaboration models, and the latest advancements in materials technology, ceramics chemistry, and industrial sustainability. With academic and industrial stakeholders under one roof, the ICTA underscores the exhibition’s role as more than just a trade event — it is a convergence point for innovation and intellectual exchange. International Participation and Technology Highlights The 2025 edition will host an impressive range of global exhibitors, reaffirming the event’s international appeal. From the ceramics sector, major players include Siam Cement Group (SCG), ECT-KEMA, MCS Portugal, AKW (Amberger Kaolinwerke), Saint-Gobain Formula, Izawa Pigment, Guzman Minerals, Sedlecký Kaolin, Siam Technical Ceramics (STC), and MUNGYO, Gilfair, and Rajasthan Mining & Minerals. In the natural stone sector, some of the most recognised names confirmed for the show include AKEMI, Breton, Pedrini, Tenax, Italdiamant, Diabu, Chim-Italia, and Abra Iride. The natural stone industry will be equally well-represented by top-tier names including AKEMI, Midwest, Diabu, Simec, Breton, Pedrini, Tenax, Abra Iride, Chim-Italia, Italdiamant and many more — showcasing cutting-edge technologies, materials, and solutions that are shaping the future of the industry. Together, these companies represent the cutting edge of product development, fabrication technologies, surface treatments, and sustainability in materials sourcing. The event will also spotlight national pavilions from Italy (Confindustria Marmomacchine), China (CCPIT), and Thailand (TCS), as well as a dedicated EU Pavilion, which will feature the best of European ceramics and stone innovation. Attendees can expect to see a wide array of breakthrough technologies, including: 3PowerFlow Centrifugal Pump – a compact, high-efficiency pump designed for spray-drying in ceramic manufacturing, presented by Certech Group. HiCAST – a high-performance gypsum mould system for industrial-scale ceramic casting, showcased by MUNGYO. LK LAB Store – a pioneering mobile robotic warehouse system for managing slab-shaped products, developed by LK Lab. BT Master – an advanced modular system for inspecting and controlling the quality of bricks and tiles, from Ibea GmbH. Quartz Powder – high-purity silica powder with exceptional thermal stability and smooth surface finish, offered by Puresil India. Arabescato Corchia – a
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Bangladeshi Hotels, Resorts Win Big at South Asian Travel Awards 2025
Bangladesh’s hospitality sector received a resounding endorsement on the international stage as several leading local hotels, resorts, and tour operators were honoured at the South Asian Travel Awards (SATA) 2025, held at the Cinnamon Grand in Colombo. The glittering ceremony, widely regarded as one of the region’s most prestigious events in the travel and tourism calendar, brought together top-tier organisations from Sri Lanka, India, the Maldives, Nepal, Bhutan, and Bangladesh. A total of 53 Gold Awards and 113 Silver Awards were presented across a range of categories, recognising excellence in service, innovation, and guest experience. Bangladeshi winners spanned multiple categories, reflecting the country’s growing reputation as a destination of choice for regional and international travellers. Award Winners from Bangladesh Baywatch: South Asia’s Best New Hotel and South Asia’s Leading Beach Resort HANSA – A Premium Residence: Leading Designer Hotel/Resort Holiday Inn Dhaka City Centre: Leading City Hotel Intercontinental Dhaka: Leading Luxury Hotel Momo Inn: Leading Family Hotel & Resort and Leading Convention Center Award Platinum Grand: Leading Boutique Hotel Platinum Residence: Leading City Hotel and Leading Budget Hotel Radisson Blu Chattogram Bay View: Best Eco-Friendly Hotel Radisson Blu Dhaka: Leading Airport Hotel and Leading Meeting & Events Sayeman Beach Resort: Leading Wedding Hotel/Resort Sayeman Heritage: Leading Heritage Hotel/Resort The Palace Luxury Resort: Leading Palace Hotel The Peninsula Chittagong: Best CSR Program, Leading F&B Hotel, and Leading Business Hotel The Westin Dhaka: Leading Wellness and Spa Hotel/Resort Bangladesh Tour Group (BTG): South Asia’s Leading Inbound Travel Agent and Best Promotion Campaign in South Asia Travel Classic (Pvt.) Limited: Leading Travel Agent – Outbound Winning awards in different categories was no easy feat. Each submission underwent a rigorous selection and evaluation process. The SATA 2025 Awards were presented to organisations that embody excellence in service delivery, innovation, sustainability, leadership, and overall industry impact. During the evaluation stage, 60 percent of the marks came from the professional judges’ report cards, with the remaining 40 percent from online public voting. Judges scored submissions based on multiple criteria: service excellence, innovation and improvement, customer satisfaction, sustainability and responsibility, operational excellence and safety, sales and revenue performance, leadership and team development, and industry contribution. This year, SATA placed particular emphasis on sustainability, cultural authenticity, and digital innovation. “SATA brings together over 300 delegates from across the South Asian region to celebrate the best of South Asian hospitality brands,” said SATA President Ismail Hameed at a press conference held during the event. He added that international establishments such as the Taj Mahal Palace, as well as brands from Nepal and Bhutan, which are unique in their own right, took part in this year’s show. “From travel agents’ associations to hotel associations to tourism boards — all are part of SATA,” Hameed said. He noted that South Asian destinations hold great tourism potential, offering everything from cool weather and beaches to mountains, heritage, history, culture, food, and delicacies. Md Mohsin Hoq Himel, Secretary of the Bangladesh International Hotel Association (BIHA), who attended the event, said: “BIHA has been working with the South Asian Travel Awards in Bangladesh.” Under the overall guidance of Hakim Ali, founder of BIHA, the association has participated in the prestigious event every year, he said. Through this platform, BIHA aims to highlight the service standards of Bangladesh’s local hotels and resorts, showcasing their uniqueness and distinctiveness alongside other regional hotels, Himel added. “This year, every Bangladeshi hotel and resort has achieved remarkable positions. We extend our heartfelt congratulations to all the award winners.” According to representatives of Bangladesh’s hospitality sector, this international recognition will further advance the country’s tourism and hotel industry in the global market and strengthen Bangladesh’s brand image worldwide, he said. The first edition of the South Asian Travel Awards began in 2016 and has been organised by Highrise every year since, with the support of multiple associations and tourism bodies from across the South Asian region, according to the SATA website. The annual search for South Asia’s most outstanding travel organisations spans a month each year from March to April, calling upon industry professionals to name their preferred travel suppliers in the region who have risen above the competition and surpassed expectations, it read. “The awards programme continues to serve as a platform for nations to come together, not in competition, but in celebration of shared triumphs and brilliance.” Written by Nibir Ayaan
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Paint Bangladesh 2025, an expo on paint industry, set to begin on September 25
Paint Bangladesh 2025, an exhibition on paint industry, is set to take place from September 25-27 this year at the International Convention City Bashundhara (ICCB), Dhaka. Organised by Rainbow Exhibition & Event Management Services Ltd., the expo is positioned as the largest and most specialized platform in South Asia for surface technology, chemical engineering, and material innovation. Paint Bangladesh 2025 is not just an exhibition; it is a technology transfer platform, the organisers said. Global leaders and local manufacturers will showcase cutting-edge solutions in: Resins, pigments, and additives engineered for higher durability, colour stability, and environmental performance. Advanced laboratory, production, and packaging equipment designed to optimise efficiency, reduce wastage, and enhance precision in coating applications. Testing and measuring instruments that ensure quality assurance and compliance with international standards. High-performance adhesives and sealants, crucial for construction, ceramics, and industrial applications where strength and longevity matter. Sustainable chemical innovations, including low-VOC (volatile organic compound) and eco-friendly formulations aligning with global green building requirements. These technologies are directly relevant for industries beyond paint, where surface coating, glaze chemistry, and bonding materials are integral to product quality. The event goes beyond exhibits. A series of seminars, technical sessions, and product demonstrations will highlight: Breakthroughs in nanotechnology for coatings. Innovations in chemical engineering for durability and performance. Market insights on Bangladesh’s rapidly expanding construction and real estate sectors. These sessions are designed to create direct dialogues between manufacturers, researchers, engineers, architects, and buyers, enabling collaboration across the entire value chain. In addition, a dedicated space called the ‘Future Paint Corner’ will facilitate the exchange of ideas on future paint systems, integrated manufacturing technologies, and innovative paint experiences of the future. Key Information Venue: International Convention City Bashundhara (ICCB), Dhaka Dates & Time: September 25 & 26 – 10 am to 7 pm September 27 – 10 am to 6:30 pm Organisers: Rainbow Exhibition & Event Management Services Ltd. and Bangladesh Paint Manufacturers’ Association (BPMA) The exhibition is open to trade and business visitors only. For the ceramic industry, this event represents an unmissable opportunity to integrate advanced coating solutions, eco-friendly materials, and high-performance adhesives into their production lines. Ceramic Bangladesh strongly encourages all stakeholders — from manufacturers to designers — to attend this landmark event and witness firsthand the future of paints, coatings, and chemicals in Bangladesh. Written by Arefin Murad
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Brac University launches design competition to reimagine community spaces
Brac University’s Department of Architecture, in collaboration with Elite Paint Bangladesh Limited, has announced a student design competition titled Architecture for Unity: Redesigning Community Spaces. The initiative invites architecture students to reimagine public spaces as inclusive environments that celebrate cultural diversity and foster meaningful interaction. The competition is exclusive to students enrolled in Brac University’s Department of Architecture and aims to empower future architects to design with empathy, inclusivity, and sustainability at the forefront. Designing for Diversity and Dialogue According to the official brief, participants are tasked with redesigning a community space—either real or hypothetical—that encourages cross-cultural engagement. The goal is to transform such spaces into vibrant hubs where people from different backgrounds can connect, collaborate, and celebrate shared humanity. The design criteria are both ambitious and socially grounded. Proposals must reflect the cultural richness of the community they serve, integrating elements that honour various traditions while promoting inclusivity. Spatial flow is a key consideration, with layouts expected to guide visitors through the space in ways that encourage movement and exchange. Functional diversity is also central to the brief. The redesigned spaces should accommodate a range of activities—from social gatherings and collaborative projects to quiet reflection—allowing individuals to engage in meaningful ways. Aesthetic appeal, while not the sole focus, remains important. Organisers are looking for innovative architectural techniques and visual storytelling that inspire curiosity and wonder. Sustainability is a non-negotiable component. Students must embrace environmentally responsible design principles that minimise ecological impact, including thoughtful choices in materials, lighting, and energy use. Submission Requirements and Format Participants must submit a comprehensive design proposal that includes conceptual sketches, spatial layouts, and explanatory notes. The drawing submission must be formatted as one A0 portrait sheet in PDF, with a resolution of 300 dpi and a maximum file size of 15 MB. In addition to the visual material, students are required to submit a text document—also in PDF format—describing the idea behind the project, its inspiration, tentative outcomes, and materiality. The written component must not exceed 500 words. All submissions must be in English. File names should follow a strict format: Student’s Name_Student’s ID_Enrolled Semester (e.g., Akibur Rahman_16208023_Fall 2023). Both the drawing and the text document must be uploaded via the designated online submission link before the deadline. Key Dates and Deadlines Registration Deadline: September 1, 2025 Submission Date: October 11, 2025 (by 5.00pm) Jury Date: October 26, 2025 Results Announcement: November 10, 2025 Students can register via the official link: https://forms.gle/ecZtUpRBmVo1jC7M7 Final submissions must be uploaded to: https://forms.gle/z5zhNK88uvH5ncU49 Awards and Recognition The competition offers substantial incentives. The first prize winner will receive BDT 50,000 and a certificate. The second and third place winners will be awarded BDT 25,000 and BDT 15,000 respectively, along with certificates. However, organisers stress that the real reward lies in the opportunity to contribute to a broader conversation about architecture’s role in social cohesion. “This is an ideas competition,” said a faculty member from Brac University’s Department of Architecture. “We’re not asking students to build anything physically. Instead, we want them to think critically and creatively about how architecture can serve as a tool for unity.” Industry Collaboration and Real-World Impact Elite Paint Bangladesh Limited’s involvement adds a layer of industry relevance to the competition. Known for its commitment to sustainable and community-focused projects, the company’s collaboration with Brac University signals a shared vision for inclusive urban development. “This is not just about buildings or parks,” said a spokesperson from Elite Paint. “It’s about creating spaces where people from different backgrounds can come together, share experiences, and build a sense of unity. We believe architecture has the power to shape social behaviour, and this competition is a step towards that vision.” Student Response and Anticipation As the submission window opens, anticipation is building across the Brac University campus. For many students, this competition represents a chance to showcase their design philosophy, engage with pressing social issues, and contribute to a vision of Bangladesh where public spaces reflect the country’s rich cultural mosaic. “We often talk about unity in abstract terms,” said one third-year architecture student. “This competition challenges us to make it tangible—to design spaces where unity is not just an idea, but an experience.” Architecture as a Bridge Between Cultures With its emphasis on cultural celebration, spatial intelligence, and environmental stewardship, Architecture for Unity is more than a student competition. It is a call to action for the next generation of architects to build not just structures, but bridges—between communities, cultures, and futures. Written by Nibir Ayaan
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Bangladeshi Talents Shine at Global Undergraduate Awards 2025
The Global Undergraduate Awards (GUA) 2025, the most recognised pan-disciplinary undergraduate awards programme in the world, honoured outstanding undergraduate research and innovation at its yearly award ceremony in Dublin, Ireland. The event united some of the finest students and aspiring academicians from 48 different countries who made original contributions to solving real-world problems. This year, Bangladesh achieved a remarkable milestone as Ridwan Noor Nafis won the Global Award in the architecture and design category. He won with his work, Urban Tune-Up: Architectural Packages of Block-based Rooftop Spaces as Containers of Public Life, which re-visualises the rooftops of Dhaka city as repurposed public spaces where people can meet and socialise and, more crucially, engage with the city and its urban nature. He is a graduate of BUET and was hired as one of the lead illustrators in a local newspaper during his university years—an experience that immensely impacted his design thinking. Nafis does not see architecture as a tool for converting shared stories into space but as a means to fix forms. His design philosophy draws on empathy and inclusiveness to make cities more functional and joyful. In the future, he wishes to investigate the overlap between urban design, the city, and environmental performance, and to be part of building a sustainable and socially presentable city. Bangladesh had another significant achievement in the 2025 Highly Commended segments. Out of 11 nominated individuals, 5 are from Bangladesh, nominated in the architecture and design category: 4 from the Department of Architecture, BUET, and 1 from the Department of Architecture, CUET. Jahra Jarin Jemi, a Lecturer at Shanto-Mariam University of Creative Technology, was nominated for her project, Life Between the Tides – Building Resilience for Manta Community in Transition. Nusrat Nasrin Ananna, a graduate of CUET, was nominated for her undergraduate thesis project titled “Unveiling Biodiversity: A Natural History Museum Complex for Discovering the Treasures of Bangladesh”. The project serves as an innovative and comprehensive hub for the exploration and preservation of the region’s rich biodiversity. Maisha Tasnim was nominated for her work “Beyond Shelters: Weaving Resilience, Livelihood, and Identity in Mongla, Bagerhat”. Sakib Nasir Khan, currently working as a part-time lecturer at BUET, was nominated for his work “The Transition: Adaptive Post-Disaster Shelters for Dense Urban Community Recovery”, marking his second consecutive commendation. Aniqa Ibnat was nominated for her thesis “Cyclic Home: Rethinking Roof as Floating Structure in Flood-Pronounced Bangladesh”. The Global Undergraduate Awards is a non-profit organisation in Dublin, established in 2008 and presided over by Michael D. Higgins, president of Ireland. Top undergraduate work is identified through impartial and collaborative consideration across 25 categories by international academics and industry practitioners. Today, the top 10 percent of entries are named Highly Commended, and each category also declares one paper as the Global Winner—highlighting the dynamic, diverse, and transformative nature of student research. Written by Afroza Mamtaz
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Akij Ceramics Clinches Superbrands Title for Second Time
Akij Ceramics has once again been named one of Bangladesh’s most trusted and influential brands for 2025-2026 by Superbrands, the world’s largest independent arbiter of branding. The announcement was made at a glittering ceremony held at Le Meridien Dhaka, celebrating excellence across industries. This marks the second time Akij Ceramics has received the coveted Superbrands recognition, reinforcing its stature as a leader in the ceramics industry. The company, in a statement, credited the award to its unwavering commitment to innovation, quality, and consumer trust. But beyond the accolades, Akij Ceramics has quietly shaped the way Bangladesh lives. Since its founding in 2012, the brand has evolved from a tile manufacturer into a lifestyle visionary. Its collections are not just about surfaces — they’re about stories. Each design reflects a blend of global aesthetics and local sensibilities, transforming homes, offices, and public spaces into expressions of identity and aspiration. The company’s six-year streak as winner of the “Best Brand Award” from Bangladesh Brand Forum (2019-2024) speaks volumes about its consistency and consumer loyalty. Yet, it’s the brand’s philosophy — to create beauty with purpose — that truly sets it apart. Whether it’s a minimalist matte finish for a Dhaka apartment or a bold geometric pattern for a boutique hotel in Cox’s Bazar, Akij Ceramics continues to push boundaries in design, sustainability, and lifestyle integration. With this latest milestone, the brand renews its promise: to inspire, to elevate, and to remain a trusted companion in the art of living well. Written By Nibir Ayaan
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Shishir Bhattacharjee Returns with Rekhachitro
With Rekhachitro/Drawing, the ongoing exhibition at the capital’s Kalakendra, the prominent artist Shishir Bhattacharjee is returning after a hiatus of more than a decade. Open to all, the exhibition will run daily from 4:00pm to 8:00pm until September 27. Shishir Bhattacharjee is a familiar name in Bangladesh’s visual arts scene. He was among the first artists to bring cartoons to the front pages of major newspapers, giving satire a fresh voice. Over the years, his works have not only entertained but also documented Bangladesh’s living history. Alongside his artistic practice, Bhattacharjee has also made his mark as a teacher, mentoring countless students at the Faculty of Fine Arts, University of Dhaka. Despite his long journey, he has often been hesitant to place his own creations at the forefront. That is why, for admirers of his work, this latest solo show is more than just an occasion—it is a celebration. His last solo exhibition, Daag-Tamasha, was held in 2013 at the Dhaka Art Center. The current exhibition features 95 line drawings created over three decades, from the early 1990s to 2023-25. The collection is uniquely Bhattacharjee: restless, fluid, and brimming with rhythmic lines. If his earlier cartoons captured the fleeting realities of society and politics with razor-sharp humour, the works here probe something deeper—mental landscapes. He employs his compositional skills to turn inner visions into imagery. The artworks adhere to the practice of automatic drawing, a method originating in Surrealism in the 1920s, where the artist allows the unconscious to direct the hand without rational control. “What I see, or perceive, emerges through my hand. It is spontaneous, often beyond conscious control. I can think and see countless things at once—perhaps science may never reach that point,” said Bhattacharjee. The pieces demonstrate his mastery of line-making. Each mark travels eagerly across the surface yet finds harmony with the others, forming an organic rhythm. To the viewer, the drawings serve as a doorway into surreal realms where the limits of reality crumble. Fish glide through the heavens, trees sprout from hands, eyes bloom like flowers, and lips open unexpectedly. Humour and uneasiness coexist in these works, expressing the contradictions of human existence. The drawings are rendered on sheets of varying colours—white, grey, and brown—each evoking a distinct atmosphere. The style is minimalist in technique yet rich in imagery, with symbols proliferating and interweaving to create pulsing compositions. Bhattacharjee’s use of local cultural motifs is particularly striking. Birds from folklore, fish from riverine traditions, floral patterns from alpana, and suns from folk art all appear in his work. These themes reflect the traditional while conversing with modern surrealism, resulting in interpretations that feel both timeless and contemporary. His compositions repeatedly feature human traits, eyes, hands, animals, and natural objects. The eye motif appears in diverse forms—sometimes vacant, sometimes erupting from other figures—signifying both surveillance and introspection. Faces, too, shift continually, whether smiling, skeletal, or fragmented, mirroring the complexities of the mind. Birds, fish, and trees merge seamlessly with human figures, reminding us that we are not separate from nature but inextricably bound to it. Alongside vitality, signs of disintegration also surface. Severed limbs, hollow eyes, and lifeless animals evoke apocalyptic undertones, suggesting war, environmental disaster, or human crisis. Yet, odd humour prevails, with grotesque movements and unsettling smiles that recall his incisive wit as a cartoonist. Though he no longer produces newspaper cartoons, sarcasm still infuses his work. Ultimately, Bhattacharjee’s art transcends mere aesthetics. His lines explore the delicate balance between humanity and nature, joy and fear, life and death. With lyrical spontaneity, symbolic richness, and surreal imagination, the ninety-five drawings in this exhibition bring dreams, nightmares, and realities into coexistence. Written by Shahbaz Nahian
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DHL–The Daily Star honour five entrepreneurs, businesses
Global logistics service provider DHL Express Bangladesh and Bangladesh’s largest-circulated English newspaper, The Daily Star, honoured five outstanding entrepreneurs and enterprises with the Bangladesh Business Awards on 23 September. The awards were given in five categories: Business Person of the Year, Best Financial Institution of the Year, Best Enterprise of the Year, Outstanding Woman in Business, and Lifetime Achievement Award. Business icon M Anis Ud Dowla, chairman of ACI Ltd, was bestowed with the Lifetime Achievement Award for his contribution to the Bangladesh economy. His story, like many others celebrated at the event, is a testament to the power of unwavering dedication. Dowla transformed an SME into ACI, one of Bangladesh’s largest conglomerates, employing more than 15,000 people. After a 27-year career in multinationals, he pioneered the local industry and continues to promote ethics, continuous learning, and youth entrepreneurship, seeing Bangladesh’s large population and rising middle class as the foundation of future growth. Ahsan Khan Chowdhury, chairman and CEO of Pran-RFL Group, was named Business Person of the Year for 2024. Under his leadership, a modest family-run agro venture grew into one of Bangladesh’s most diversified conglomerates, spanning more than 6,000 product lines and employing 167,000 people, with annual revenues exceeding $3 billion—a transformation that mirrors the country’s own economic rise. The Enterprise of the Year award went to Walton Hi-Tech Industries PLC, which has reshaped Bangladesh’s electronics market, moving from import dependence to global competitiveness. Founded in the early 2000s, Walton now produces refrigerators, televisions, and smartphones, employs thousands, exports to more than 50 countries, and symbolises the nation’s industrial diversification. City Bank was named Best Financial Institution of the Year 2024. Once considered troubled, City has emerged as one of the country’s leading lenders. Established in 1983, it now records strong asset growth, operates a vast agent banking network, runs gender-focused initiatives, and posts profits of over Tk 1,000 crore—underscoring its financial resilience and governance reforms. Sadia Haque received the Outstanding Woman in Business award for 2024. After leaving a thriving corporate career, Sadia co-founded ShareTrip, Bangladesh’s leading travel-tech startup. She turned her passion into innovation, pioneering digital booking, loyalty programmes, and fintech services. As a female founder, she champions entrepreneurship and breaks barriers in a male-dominated industry while redefining how Bangladesh travels. Finance Adviser Salehuddin Ahmed presented the awards to the winners at the Radisson Blu Water Garden Hotel in Dhaka, where Commerce Adviser Sk Bashir Uddin was also present. Congratulating the winners, Adviser Salehuddin said Bangladesh’s businesses had shown “remarkable dynamism” in expanding their reach beyond national borders. He recalled being “pleasantly surprised” to find Pran Chanachur on shop shelves as far as Fiji. “This is how Bangladesh goes far away,” he said. Ahmed called on the country’s private sector to prepare for a more competitive global environment after graduation from the Least Developed Country (LDC) bracket. “You have to be competitive, you’ll have to look at the global situation and of course the local. We definitely try to facilitate all kinds of support through policy reforms, through process simplifications and through other support instruments,” he said. “Bangladesh is on a transformation journey, and its private sector continues to be the engine of growth.” At the event, Md Miarul Haque, managing director of DHL Express Bangladesh, said Bangladesh’s private sector must evolve with agility, innovation, and collaboration to remain competitive in a fast-changing global economy. “At DHL, we are proud to celebrate the leadership that drives this progress. Tonight’s awardees are not only shaping industries but also contributing to the nation’s economic advancement and global competitiveness.” Mahfuz Anam, editor and publisher of The Daily Star, also lauded the past winners of the Bangladesh Business Awards. “These individuals represent the best of Bangladesh’s private sector—those who have built with integrity, broken barriers, and moved the nation forward.” Anam underscored that Bangladesh is nearing its graduation from LDC status, yet concerns remain about readiness. He argued that part of the answer lies in the state’s inconsistent support for the private sector. “We must distinguish between honest and dishonest businessmen,” he said. Receiving the Lifetime Achievement Award, Anis Ud Dowla said, “I am honoured and humbled by this recognition. It is truly an inspiration to strive for even greater excellence.” “This is the third time I feel honoured at this platform. In 2011 and 2017, I had the privilege of receiving awards on behalf of ACI and myself. But this Lifetime Achievement Award is profoundly moving,” he said. He ended his speech with a powerful quote: “Be punctual. Time is valuable. Not just yours, but everyone’s.” Pran-RFL Chairman and CEO Chowdhury said, “I must say, I didn’t have to do much in the beginning. It was the people behind Pran-RFL who made it happen. It’s our customers who have carried us forward.” ShareTrip CEO Haque said, “Tourism is not often seen as a key contributor to the GDP or economic growth. I hope this recognition, both for myself and for ShareTrip, marks a turning point for the industry.” Walton MD Alam called the award timely ahead of LDC graduation. He urged continued backing for local industries, saying, “Just as others say ‘Make in India’ or ‘America First’, we say: ‘Bangladesh on Top’.” City Bank CEO Arefin reflected on the bank’s transformation journey. “This was a long-anticipated recognition,” he said. “City Bank’s transformation began in 2007, from what was then considered a problem bank, with two central bank observers on its board, to now being one of the country’s leading financial institutions.” The event was attended by Sarah Cooke, British high commissioner to Bangladesh; Tapan Chowdhury, managing director of Square Pharmaceuticals; Simeen Rahman, group CEO of Transcom Group; AK Azad, chairman and CEO of Ha-Meem Group; Abdul Muktadir, chairman and managing director of Incepta Pharmaceuticals; Zaved Akhtar, president of The Foreign Investors’ Chamber of Commerce & Industry; Naser Ezaz Bijoy, CEO of Standard Chartered Bangladesh; and Syed Mohammad Kamal, country manager of Mastercard. Shaheen Anam, executive director
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9th Bangladesh Buildcon International Expo Begins in Dhaka Sep 25
The stage is all set for the ninth edition of the Bangladesh Buildcon International Expo, a trade show dedicated exclusively to the building and construction industry. The three-day event, which will begin on September 25 at Dhaka’s International Convention City Bashundhara (ICCB), will integrate the construction industry into a professional meeting, investment, and dissemination of ideas and information. The Buildcon Expo, launched in 2015, has continuously emerged as one of the most anticipated business events in the construction sector. It has, over the years, become a complete hub of industry meeting points by attracting architects, builders, contractors, engineers, manufacturers, fabricators, interior decorators, importers, dealers, distributors, traders, and government departments. Expected to attract more than 5,000 trade visitors, the event has drawn a wide range of people who are keen on learning about new developments in the industry. With over 200 esteemed exhibitors across an area of more than 1,500 square feet, the expo offers a great opportunity for individuals to network, share ideas, and broker business. Organised by The Buildcon Expo 2025 is organised by Futurex Trade Fair and Events Pvt. Ltd. and ASK Trade & Exhibitions Pvt. Ltd. Futurex Trade Fair and Events Pvt. Ltd. aims to provide an ideal business platform through exhibitions, seminars, corporate events, and get-togethers. ASK Trade & Exhibitions Pvt. Ltd., which is based in Chennai, Bangalore, Kolkata, and Delhi in India, also has branches in countries such as Brazil, China, and Bangladesh. International and Domestic Participation Both international companies as well as domestic exhibitors will be present at the expo. The organisers ensure that leading firms in the construction sector—specialised in machinery, equipment, and vehicles; mechanical, electrical, and plumbing services; interiors and finishes; building tools and materials; dedicated construction technologies; and special construction solutions—will be present on the exhibition floor. The visitor profile is equally diversified, including but not limited to architects, designers, builders, contractors, engineers, project managers, government officials, investors, real estate developers, hoteliers, and sourcing professionals. Authorities from airports, seaports, retail malls, and amusement parks, as well as facility managers, industry associations, and consultants, will also participate, ensuring a good cross-sectional representation. Industry Outlook The present valuation of the Bangladesh construction industry at Tk 2,329 billion is expected to increase at a compound annual growth rate of 10 percent up to 2026, when the industry is projected to be worth Tk 3,415.1 billion. Such growth, owing to rapid urbanisation in Dhaka and other urban regions, highlights the future of Buildcon 2025 as an investment and networking hub, besides being a platform for knowledge sharing. The organisers emphasised that the Bangladesh Buildcon International Expo 2025 is meant to be seen and felt: more than the works on exhibit at the fair, it is a forum of partnership where Bangladesh emerges as the most relevant centre in the building and infrastructure sector in South Asia. Written by Afroza Mamtaz
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49 Brands Earn Superbrands Status for 2025-26
A Night of Prestige On the evening of September 20, 2025, Dhaka’s Le Meridien hotel became the epicentre of brand celebration. Superbrands Bangladesh hosted a gala to honour 49 companies that have earned the coveted Superbrands status for 2025–26. Bangladesh’s Most Trusted Brands The event brought together Bangladesh’s top corporate minds—executives, marketers, and brand custodians—who gathered to applaud the country’s most trusted and influential names. It was a night of recognition, prestige, and storytelling. Unveiling the Fifth Superbrands Volume A key moment of the evening was the unveiling of the cover for the upcoming Superbrands Bangladesh publication. This edition will profile the selected brands and serve as a reference for professionals in marketing, media, academia, and advertising. Global Legacy of Superbrands Superbrands began in the UK in 1994 and has grown into the world’s largest independent arbiter of branding. Its mission is to spotlight brands that offer both emotional and functional advantages over competitors. What Defines a Superbrand To be named a Superbrand is to be recognised for excellence, reliability, and consumer trust. These brands don’t just sell—they inspire loyalty and command premium value through their reputation. Rigorous Selection and Evaluation The selection process in Bangladesh was rigorous. A multidisciplinary Brand Council evaluated each contender across five key metrics: brand heritage, relevance, perceived quality, performance, and top-of-mind awareness. Each brand was scored out of 20. Only those with the highest marks and full compliance were invited to join the Superbrands list. The process ensures that only the most consistent and credible brands are recognised. Insights from the Brand Council Ashraf Bin Taj, managing director of International Distributions Company Bangladesh, elaborated on the jury’s approach. He emphasised that Bangladesh’s evaluation mirrors the global standards upheld by Superbrands worldwide. He noted that only brands demonstrating sustained relevance and trustworthiness make the cut. The multi-stage process filters out anything less than exceptional. Shariful Islam, managing director of Superbrands Bangladesh, addressed the gathering with a message of pride. He described Superbrands as names that people trust, respect, and feel proud to associate with. He added that these brands stand apart by honouring their values and promises. Their ability to inspire confidence and set industry benchmarks makes them worthy of celebration. Global Reach and Local Impact Globally, Superbrands has recognised over 45,000 brands across 90 countries. More than 645 publications have documented the journeys of these leading names since the programme’s inception. In Bangladesh, the fifth volume of Superbrands continues this legacy. It highlights brands that go beyond competition to represent quality, trust, and distinction in the marketplace. Meet the 2025-26 Superbrands The 49 honoured brands span industries from consumer goods and electronics to education and media. Each has carved a unique identity in the Bangladeshi landscape. Among the winners are ACI Nutrilife, Akij Ceramics, Bashundhara LP Gas, Berger Paints, BRB Cable, Channel i, and Eastern Bank PLC. These names are synonymous with reliability and innovation. Others include Energypac, Epyllion Group, Gree Air Conditioner, Hatil Furniture, Igloo Ice Cream, Jamuna TV, Mastercard, Matador Stationery, and Meghna Group of Industries. Tech and education leaders like North South University, Pathao, Samsung Mobile, and Walton were also recognised. Their impact on modern Bangladesh is both deep and wide. Retail and FMCG giants such as Shwapno, PRAN-RFL Group, Rupchanda, and SMC Condoms earned their place through consistent performance and consumer trust. The full list also features Turkish Airlines, The Daily Star, Shah Cement, Shanta Holdings, and ShareTrip. These brands reflect the diversity and dynamism of Bangladesh’s corporate ecosystem. Each brand profiled in the Superbrands publication represents a journey of excellence. Their recognition sets a benchmark for others aspiring to similar heights. Wtitten by Nibir Nahiyan
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Learning, Unlearning, and the Architecture of Change
In a world where design often races ahead of reflection, CubeInside Design Ltd. is inviting architects, students, and thinkers to pause—and reconsider. Their upcoming three-day event, Learning & Unlearning, promises not just a series of lectures but a journey into the core of architectural consciousness. Set to unfold from September 25 to 27, the event will be hosted at CubeInside Design Ltd. in Dhaka. It’s not a typical seminar. It’s an exploration—into the craft, the culture, and the contradictions of architecture today. CubeInside, known for its thoughtful design practice, has curated this event with a clear intention: to challenge assumptions, provoke dialogue, and open up new ways of seeing. The title itself—Learning & Unlearning—signals a dual movement. It’s about acquiring knowledge, yes, but also about shedding the habits and biases that no longer serve. The programme is structured around lectures, discussions, and exhibitions, each designed to engage participants in critical reflection. Over three days, attendees will encounter ideas that stretch beyond blueprints and facades. They’ll be asked to consider architecture not just as a profession but as a cultural act—one that shapes and is shaped by society. The event is open to students, professionals, and enthusiasts alike. It’s a rare opportunity to engage with architectural discourse in a setting that encourages both curiosity and critique. CubeInside’s invitation is clear: come with questions, leave with more. CubeInside’s announcement, shared via its official Facebook page, carries a tone of quiet urgency. “CubeInside invites you to Learning & Unlearning,” it reads. The event’s visual identity, as seen in the post, is minimal yet evocative. It reflects CubeInside’s design ethos: clarity, restraint, and meaning. There’s no excess—just an invitation to think. What makes Learning & Unlearning stand out is its refusal to be didactic. It doesn’t claim to have answers. Instead, it offers a space where answers can be questioned. In a field often dominated by trends and technicalities, this is a refreshing shift. CubeInside’s initiative is timely. As Bangladesh grapples with rapid urbanisation, climate challenges, and shifting cultural landscapes, architecture must evolve. Events like this help ensure that evolution is thoughtful, inclusive, and grounded. For those attending, the three days will likely be more than an academic exercise. They’ll be a chance to connect—with ideas, with peers, and with the deeper purpose of design. And for CubeInside, it’s another step in its ongoing commitment to architecture that matters. In the end, Learning & Unlearning is not just about buildings. It’s about building understanding. And in that, CubeInside is offering something rare: a space to think, together. Written by Nibir Ayaan
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Asian Tourism Fair begins in Dhaka today
The 12th Asian Tourism Fair (ATF) officially commenced today at the International Convention City Bashundhara (ICCB), marking the largest tourism exhibition ever held in Bangladesh. The three-day event, running from September 18 to 20, features over 200 exhibitors from 20 countries. The ATF Dhaka is organised by Bangladeshi travel and tourism magazine The Parjatan Bichitra. The event is endorsed by Ministry of Civil Aviation and Tourism and government of Bangladesh, and supported by Bangladesh Parjatan Corporation (BPC), Bangladesh Tourism Board (BTB) and tourism trade association at home and abroad. This year’s expo’s tagline “Connecting Regional Tourism,” aims to strengthen cross-border collaboration and promote sustainable travel across Asia. Countries which took part in earlier editions of the fair include: Bangladesh, India, Nepal, Bhutan, Thailand, Malaysia, Sri Lanka, Indonesia, China, Korea, Sri Lanka, Japan, Jordan, Iran, Qatar, Philippine, Singapore, Lithuania and Maldives. Malaysia returns as a feature country, showcasing its tourism offerings through immersive displays. Mutual Trust Bank is the title sponsor of the fair, where national tourism organisations, airlines, tour operators, and hospitality groups will be the key exhibitors. Bangladesh’s tourism sector is prominently represented, with local operators promoting destinations such as the Sundarbans mangrove forest, Cox’s Bazar—the world’s longest sea beach—tea gardens in Sylhet, and Buddhist heritage sites in the Chittagong Hill Tracts. Bangladesh was recently named one of the best-value destinations by Lonely Planet, and organizers are leveraging this recognition to boost inbound and outbound travel. The fair includes a series of side events designed to engage both industry professionals and the general public. These include seminars, workshops, skill conventions, cultural programmes, and a dedicated Bangladesh Tourism Night. An award ceremony is scheduled to recognise contributions to the tourism sector. Four tiers are offered: Standard, Semi Pavilion, Pavilion, and Prime Pavilion. Logistical support is available only through nominated agents and for exhibitors with early bird registration. The event also facilitates B2B and B2C networking sessions to encourage commercial partnerships and tourism development. Visitor demographics span leisure travellers, corporate buyers, travel media, and academic researchers. Organisers expect significant footfall over the three days, with the ICCB venue prepared to accommodate large crowds. Bangladesh’s outbound tourism market is expanding rapidly, driven by increased flight connectivity and a growing middle class. The fair aims to capitalise on this trend by promoting regional travel packages and enhancing visibility for participating destinations. The ATF has been held regularly since its inception, with some exceptions. It is considered a key platform for regional tourism stakeholders to exchange ideas, showcase products, and foster economic cooperation. The fair will conclude on September 20 with closing remarks from organisers and government representatives. Written by Nibir Ayaan
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South Asia Trade Fair 2025 Kicks Off in Dhaka Today
The South Asia Trade Fair 2025 opens its doors in Dhaka today, drawing together businesses from across the region for a four-day showcase of trade and commerce. This year’s edition will feature an extensive display of products from South Asian countries, covering categories as diverse as readymade garments, textiles, gems and jewellery, cosmetics, footwear and leather items, home and kitchen appliances, processed food, and electronics. Organisers said the wide range is meant to highlight both the industrial strengths and the cultural traditions of the region. Over a hundred companies are expected to take part, representing a strong presence of entrepreneurs and firms from multiple SAARC member nations. Their participation is aimed at deepening economic ties and opening new trade opportunities among neighbouring countries. The fair is being hosted under the initiative of the SAARC Chamber of Commerce and Industry (SCCI). The Federation of Bangladesh Chambers of Commerce and Industry (FBCCI), the Ministry of Commerce, and the Export Promotion Bureau (EPB) are providing support to make the event successful. An inaugural ceremony marked the start of the fair and Commerce Adviser Sk. Bashir Uddin formally opened the exhibition at the International Convention City, Bashundhara. The event is being positioned as one of the year’s most important trade gatherings in the capital. Details of the programme were shared earlier this week at a press conference organised at the FBCCI headquarters in Dhaka’s Motijheel. Speaking at the briefing, Zulfiqar Ali Bhatt, secretary general of the SAARC Chamber of Commerce and Industry, explained the scope of the upcoming fair and outlined its objectives. According to Bhatt, the event will include business-to-business matchmaking sessions and dedicated networking opportunities designed to foster trust between entrepreneurs of SAARC nations. He added that the platform would also enable the exchange of ideas and experiences in business practices, paving the way for a stronger foundation of regional cooperation. “This will play a vital role in promoting regional trade,” Bhatt remarked, underlining the importance of strengthening intra-regional links. He noted, however, that despite significant potential, South Asian economies have not yet managed to expand their trade with each other to the levels seen in other parts of the world. The fair, he stressed, can serve as a step toward correcting this imbalance. The exhibition will bring together companies from Bangladesh, Pakistan, Sri Lanka, and Afghanistan, among others. With more than a hundred firms participating, organisers are confident the event will serve as an effective platform for businesses looking to establish or expand their footprint in South Asia’s growing markets. Md. Alamgir, secretary general of FBCCI, also spoke at the press conference, focusing on the broader vision of the Saarc Chamber. He emphasised that the institution was created to boost the region’s trade capacity and to promote collaboration across a variety of sectors. Through the fair, Alamgir said, regional potential in industries such as textiles, pharmaceuticals, processed food and agriculture, and electronics will come to the forefront. At the same time, the exhibition will not only highlight economic strengths but also showcase the rich traditions and cultural identities of the SAARC member countries, creating a more holistic view of South Asia’s shared possibilities. The stakeholders hope the four-day event will set the stage for stronger commercial ties, a more connected region, and a renewed commitment to expanding trade among neighbouring economies. Written by Nibir Ayaan
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Ridwan Noor Nafis Wins Gold at TOY ARCASIA 2025
BUET graduate bags Asia’s top architecture award In a defining moment for Bangladesh’s architectural community, Ridwan Noor Nafis—a recent graduate of Bangladesh University of Engineering and Technology (BUET)—has been awarded the Gold Prize at “Thesis of the Year” (TOY ARCASIA 2025), one of Asia’s most prestigious platforms for emerging architects. Held in Incheon, South Korea, the competition drew submissions from leading architecture schools across the continent. Nafis’s winning thesis, “Urban Tune-Up: Architectural Packages for Block-Based Rooftop Spaces as Containers of Public Life”, offers a bold reimagining of Dhaka’s skyline. His vision transforms the city’s fragmented rooftop spaces into vibrant, interconnected zones of public engagement—integrating green infrastructure, social interaction, and urban resilience into the heart of one of Asia’s densest capitals. Guided by supervisors Dr Khandaker Shabbir Ahmed and Maherul Kader Prince, Nafis’s work stood out among submissions from top architecture schools across Asia. His proposal offers a visionary response to Dhaka’s spatial constraints and social fragmentation, positioning rooftops as platforms for civic life—breathing space in a city that often feels choked by its own growth. TOY ARCASIA, one of Asia’s most respected platforms for architectural students, celebrates innovation, social relevance, and global orientation. The objective of TOY 2025 is to provide an arena for architecture schools in ARCASIA member countries and their undergraduate students to showcase fresh ideas and academic potential on an international stage. It aims to elevate architectural education across Asia by fostering creativity and cross-cultural exchange. This year’s entries were held to a rigorous standard. Submissions were required to demonstrate high social relevance, originality, and a strong global outlook. A key criterion was alignment with the United Nations’ 17 Sustainable Development Goals—or their future roadmap—ensuring that each thesis contributed meaningfully to global challenges. Nafis’s project met these demands with clarity and conviction, offering a model for sustainable urban transformation rooted in community and ecological awareness. Now a lecturer at BUET, Nafis’s achievement is more than personal—it is emblematic of BUET’s growing influence in architectural thought and research across the region. His win reinforces the university’s reputation for producing graduates who combine academic rigour with visionary thinking. TOY ARCASIA’s mission is to elevate architectural education in Asia by showcasing final-year student work that pushes boundaries and opens pathways for knowledge exchange. In a world where cities are rapidly evolving, Nafis’s rooftop revolution reminds us that innovation does not always require new land—it can begin above our heads. His work is a call to rethink the spaces we overlook, and to design with both imagination and empathy. Written by Nibir Ayaan
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The Quiet Majesty of Sultan: Through the Eyes of Nasir Ali Mamun
For a long time, Nasir Ali Mamun, who slowly catapulted portrait photography in Bangladesh, photographed S. M. Sultan, one of the finest artistic minds from this soil. To honor the centennial of the legendary S. M. Sultan (1924-1994), the Bengal Foundation, in collaboration with HSBC Bangladesh, presents “Shotoborshe Sultan,” a unique photographic exhibition by Nasir Ali Mamun. The exhibition began on Friday, August 22, 2025, at 6:00 PM, in the Quamrul Hassan show hall, Bengal Shilpalay, Dhaka, and would run every day (excluding Sundays) from 4:00 to 8:00 PM till September 27, 2025. The show features rare images of S. M. Sultan by Mamun, as well as original negatives, handwritten letters, and souvenirs, many of which are being displayed for the first time in public, presenting an intimate visual journey from Sultan’s rural home in Narail until his latter years. Portraits of artists are merely portraits of individuals; they are also historical landscapes. What Mamun began decades ago as a photographic testament to a single person is now unfolding as part of a centennial constellation in which Sultan’s photographs, letters, and pieces of existence are made visible again. Sultan’s paintings are counter-historical. He gave peasants colossal stature, men and women with torsos whose muscles bore the silt of millennia. In his works, the agrarian body is not a scenic or colonial decoration, but rather the reality of subsistence. It is a subaltern vision turned myth: peasants are the measure of Bangladesh itself. Seeing them on his painting reminds us that history belongs not only to the financially privileged class but also to people who tilled, carried, and endured. But what does it mean to shoot the man who immortalized others and created counter-histories? The answer, I believe, is to reintegrate him into the life-world he exalted. This is exactly what Mamun did. His black-and-white photographs of Sultan do not elevate him to the artist’s abstract figure status. They instill in him the texture of daily austerity. Beyond the artist at work, the studio, and the brush, there are subtleties that encompass Sultan sitting on a mat in a broken zamindar’s house (where he lived), painting in the light that spills in through an open door, eating with cats as companions, bent under the weak flame of a hurricane lamp, the shadow of a child at the door, the cat staring as he eats, and the cracked floor that bears his weight. These elements make it impossible for Sultan to be just classified as an eccentric artist. Thus, Mamun’s photographs of Sultan are not just photographic intrusions into his private life. They reject glamor. They reject transforming Sultan into a star divorced from the reality he lived in. Instead, they depict him in frail light, in humble space, and in the rhythms of daily life, and much would have been lost if these images had not existed. Without Mamun, Sultan would only exist as a myth, with his huge peasants in museums and his name perpetuated in art history. But the eccentric man himself would vanish into rumor. These pictures resist the erasing. They claim the artist was here. Written by Shahbaz Nahian
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Bangladesh’s Double Honour at ARCASIA 2025
Enamul Karim and Sharif Uddin Ahammed Redefine Regional Architecture In a week that celebrated architectural ingenuity across Asia, two Bangladeshi architects—Enamul Karim and Sharif Uddin Ahammed—stood out among more than 300 submissions at the ARCASIA Awards for Architecture 2025, held in Incheon from September 7 to 14. Their winning projects, though vastly different in scale and typology, share a common ethos: architecture as a medium of emotional depth and social responsibility. Karim was awarded the Gold in Category A1 for CHAABI, a single-family residence that transforms domestic space into a poetic landscape of memory and light. Ahammed, meanwhile, received the Special Award for Socially Responsible Architecture for From Industrial Wasteland to Ecological Oasis Bangladesh, a low-budget landscape intervention that reclaims degraded land for biodiversity and community equity. Their recognition marks a significant moment for Bangladeshi architecture, where personal narrative and civic consciousness are increasingly shaping the built environment. A House That Remembers: Enamul Karim’s CHAABI Located in Berabo, Rupganj, near the river Shitalakha, CHAABI is more than a residence—it is a spatial memoir. Completed in 2023, the 1,035-square-metre home was designed for a family seeking peace, introspection, and connection to nature. Karim’s design orchestrates a series of transitions: from enclosed rooms to open courtyards, from filtered daylight to open skies, from private memory to shared experience. The house features a water body that runs alongside the living room, open to the south wind and sky. A narrow walkway along its edge leads to a large open field, evoking a sense of spatial release. Inside, the programme includes bedrooms, a home theatre, gymnasium, swimming pool, and a unique “address-desk”—a raised wooden platform with microphones for family speeches. Material choices are deliberate: exposed concrete for structure, mahogany for doors and windows, matte tiles for floors, and grill-less glass for uninterrupted light. Memory traps embedded in the ground hold family memorabilia, turning the home into a quiet archive of generational love. Karim’s CHAABI was praised by the jury—led by ARCASIA President Ar. Saifuddin Ahmad—for its emotional clarity and architectural restraint, a rare balance in residential design. A Landscape of Equity: Sharif Uddin Ahammed’s Ecological Oasis In contrast to the intimacy of CHAABI, Sharif Uddin Ahammed’s award-winning project operates at the scale of landscape and labour. From Industrial Wasteland to Ecological Oasis Bangladesh reclaims a neglected site through passive hydrological solutions, wildlife habitat creation, and democratic spatial planning. Developed between 2022 and 2023, the project challenges conventional landscape design by addressing class divisions between corporate officials and labourers. Using existing materials and a minimal budget, Ahammed and his team at Sthapotik crafted a space that serves both ecological and human needs. The jury, which also included Prof. Ken Nah, Ar. Shahid Abdulla, Ar. Anna Kwong, and Ar. Beverly Frank, recognised the project’s layered complexity and its commitment to environmental justice. Convened by Ar. Chun Gyu Shin, the panel awarded Ahammed the Special Award for Socially Responsible Architecture on 10 September. For Ahammed, the recognition affirms a long-held belief: that architecture must respond to its environment—not just physically, but socially and emotionally. His practice, rooted in the philosophy of “responsive environments,” continues to challenge the boundaries of what architecture can do. A Shared Stage, Divergent Legacies Though Karim and Ahammed work in different registers—one in the quiet intimacy of home, the other in the public urgency of landscape—their projects converge in their refusal to treat architecture as mere form. Instead, they offer it as a language of care, memory, and justice. Their dual recognition at ARCASIA 2025 is not just a win for Bangladesh—it is a signal that architecture in the region is evolving, embracing both the personal and the political, the poetic and the pragmatic. Written by Afroza Mamataz
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Dhara: A New Bi-Monthly Talk Series for Architectural Dialogue
Dhara aims to create a platform where alumni, students, and practising architects can share knowledge The Department of Architecture at Ahsanullah University of Science and Technology (AUST) launched its new bi-monthly talk series, Dhara, organised in collaboration with the Alumni of AUST Architects, on August 26 this year. The inaugural session, held at the Jury and Exhibition Space of the department, began with a lecture by Swiss architect Niklaus Graber. Dhara aims to create a platform where alumni, students, and practising architects can share knowledge, ideas, and experiences. By opening up discussions on contemporary architectural practice, the series seeks to broaden perspectives, foster collaboration, and strengthen the link between academia and the profession. As its tagline suggests, Dhara is envisioned as a place “where ideas flow, and architecture speaks”. Niklaus Graber delivered the opening lecture under the title “Enabling Structures: Reflections between Rivers and Mountains”. Drawing on his practice in Switzerland and his long-standing engagement with Bangladesh, Graber spoke about the relationship between architecture and structure, and how this connection shapes meaningful spaces. He reflected on the contrasts between the landscapes of Bangladesh and Switzerland, while also noting their similarities: in both countries, distinctive geographical conditions have influenced settlement patterns and fostered a shared awareness of caring for scarce resources. For Graber, sustainable and inclusive architecture is most successful when rooted in “enabling structures” that form welcoming environments and encourage vibrant social interaction. Niklaus Graber studied architecture at ETH Zurich and at the Graduate School of Architecture, Planning and Preservation (GSAPP), Columbia University, New York. The event at AUST began with a welcome address by Architect Shafiul Azam Shamim, General Secretary of the Alumni of AUST Architects. AUST Vice-Chancellor, Professor Dr Md Ashraful Hoque, attended the occasion, along with faculty members, alumni, and students. Following Graber’s engaging presentation, the vice-chancellor expressed his gratitude and presented him with a crest. Reflecting on the event, Asif Salman, an architectural designer and photographer, explained: “This workshop will be held every two months to generate in-depth ideas and get students more involved, as Niklaus Graber suggested that architecture needs to be less romanticised and more focused on safety and security.” He also stressed that the way architecture is perceived must evolve: “Sustainability must be the focus. Architecture has changed from the 20th century to the 21st century, and it will keep changing. The focus of this workshop is to bring new spokespersons, bring architects together, and start a discourse.” With such a vision, Dhara aspires to continue as a living platform where architectural ideas flow freely and dialogue between generations of architects enriches new visions. Written by Tanisha Kabir
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Marina Tabassum Wins Prestigious ‘Aga Khan Award for Architecture’—Again
Marina Tabassum, one of South Asia’s most distinguished architects, has once again earned global recognition by winning the 2025 Aga Khan Award for Architecture. This marks her second time receiving the honour, a rare achievement that places her among an elite group of architects celebrated for their contributions to socially impactful design. Tabassum’s winning project, Khudi Bari—meaning “tiny house” in Bengali—is a modular, portable shelter designed for communities displaced by river erosion and climate-related disasters in Bangladesh. Constructed from bamboo and metal joints, the structure is lightweight, affordable, and easy to assemble. Each unit costs less than $300, making it accessible to low-income families living in flood-prone regions. The design reflects a deep understanding of local materials and environmental challenges, offering a dignified solution to one of the country’s most pressing humanitarian issues. The Aga Khan Award for Architecture, established in 1977 by His Highness the Aga Khan, is one of the most prestigious honours in the field. It is awarded every three years to projects that not only demonstrate architectural excellence but also improve the quality of life in Muslim societies. The award carries a total prize of $1 million, distributed among selected winners. This year’s winners include projects from China, Egypt, Pakistan, Palestine, and two from Iran, each chosen for their cultural relevance, sustainability, and social impact. Tabassum’s Khudi Bari stood out for its simplicity and transformative potential. The project was praised by the award jury for embodying architecture that uplifts and empowers, especially in the face of climate displacement. It offers a scalable model for humanitarian housing, rooted in empathy and resilience. This is not Tabassum’s first time in the spotlight. She previously won the Aga Khan Award in 2016 for the Bait ur Rouf Mosque in Dhaka, a minimalist structure that redefined religious architecture through its use of natural light and brickwork. Located in a low-income neighborhood, the mosque was celebrated for its spiritual ambience and community-centred design. That recognition marked the rise of a Bangladeshi voice of global significance, and her latest achievement further strengthens that legacy. Among those who celebrated her achievement was Nobel Laureate Professor Muhammad Yunus, Chief Adviser to the Government of Bangladesh. In a public statement, Yunus expressed heartfelt congratulations, calling the award “a source of great pride for Bangladesh.” The chief adviser commended Tabassum’s work on Khudi Bari as “brilliantly demonstrating how architecture can serve humanity with compassion and vision.” He emphasised that her design goes beyond aesthetics, highlighting dignity, resilience, and the power of human ingenuity to address the greatest challenges of our time. Yunus also reflected on her earlier triumph with the Bait ur Rouf Mosque, describing it as “a milestone that celebrated the timeless values of spirituality, community, and simplicity in architecture”. He acknowledged Tabassum’s ongoing service to the nation, including her role as Chairperson of the Bangladesh National Museum Governing Council and her consultancy on the July Uprising Memorial Museum. A photograph accompanying the message shows Professor Yunus speaking with Tabassum during a recent visit to the July Uprising Memorial Museum in Dhaka this year—a moment that underscores her continued engagement with projects of national significance. Through Khudi Bari, Tabassum has once again placed Bangladesh on the global stage of creativity and social innovation. Her work transforms adversity into opportunity, offering hope and practical solutions to those most affected by climate change. With two Aga Khan Awards and a growing portfolio of socially driven projects, Marina Tabassum continues to redefine architecture—not just in Bangladesh, but globally—as a force for equity, resilience, and human dignity. Written by Nibir Ayaan
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Experience the Art of Perfect Flooring
Akij Ceramics has introduced the Panora series—a stunning collection of porcelain plank tiles designed for both residential and commercial environments. Panora offers streamlined proportions suited to contemporary interiors, with three sleek sizes: 20 × 80 cm, 20 × 120 cm, and 30 × 120 cm. These tiles feature designs influenced by the textures and elegance of natural wood and incorporate an anti-slip surface achieved through advanced Micro CID technology. The subtle porcelain matte finish adds refined elegance, making them ideal for living areas, bedrooms, lobbies, kitchens, and exterior spaces. Panora’s design ensures visual harmony, complementing modern décor and architectural elements with clean, linear patterns. Beyond their refined appearance and quality, Panora tiles offer remarkable design flexibility. The sleek tiles can be arranged in a variety of captivating layouts, including: Offset (Brick Pattern): Rows of plank tiles are laid parallel but slightly staggered, creating a brick-like rhythm across the floor. Herringbone: Tiles are laid at 45° angles in a zigzag pattern, creating dynamic visual movement. Double Herringbone: An enhanced version of herringbone, where tiles are arranged in two-by-two blocks, offering a bold, textured effect. Chevron: Tiles are cut at an angle to form continuous V-shaped patterns, giving a sleek, modern appeal. This versatility allows homeowners and designers to create unique flooring designs or feature areas that reflect individual style and creativity. Whether used for expansive floors or detailed accent areas, Panora stands out as a perfect fusion of function and artistry, transforming interiors into spaces that reflect both modern elegance and thoughtful design. With Panora, Akij Ceramics delivers porcelain plank tiles that combine versatility, sophistication, and contemporary style, making them a compelling choice for a variety of settings.
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A Litmus Test for Bangladesh Economy
It began with a verdict. Not a speech, not a scandal—just a quiet ruling from Bangladesh’s judiciary. On June 5, 2024, the High Court reinstated a quota system for government jobs, reserving 56 percent of positions for specific groups, including descendants of freedom fighters. For many students, it felt like a door slamming shut. Within days, campuses across the country stirred with frustration. The movement that followed—Students Against Discrimination—was born not in fury, but in resolve. Their rallies were orderly, their chants measured. But beneath the surface, tension simmered. By early July, that tension boiled over. The protests evolved into the “Bangla Blockade,” a sweeping shutdown of roads and highways that paralysed the nation’s arteries. Buses vanished. Containers stacked up at ports. Supply trucks idled outside factories. Dhaka’s markets emptied as perishables spoiled in the heat. Exporters missed deadlines. Small traders watched their earnings evaporate. What began as a student movement had metastasized into an economic crisis. DEFINING MOMENTS June 5 | 2024 High Court reinstates quotas June 7-15 | 2024 Students begin peaceful rally, social media activism July 01 | 2024 Nationwide Bangla Blockade begins July 16 | 2024 Violent crackdown, leaving dozens killed Late July | 2024 FDI approvals drop 40%; export delays, gas shortages August 5 | 2024 Interim Government formed Sep–Dec | 2024 Interest hits 10%; ADP spending 49-year low Jan–Mar | 2025 Remittances peak; inflation eases; current account surplus Apr–Jul | 2025 Recovery phase: DSEX up 12.5%; exports rebound; MFS grows 64% August 5 | 2025 One-Year Anniversary A Nation on Edge On July 16 of 2024, the calm shattered. Security forces moved in with batons, tear gas, and live ammunition. The clashes were brutal. Ambulances raced through smoke-filled streets. Students lay bloodied on stretchers. Families camped outside police stations, desperate for news. Independent monitors reported hundreds injured and dozens dead. The government disputed the numbers. But the images—broadcast across television screens and social media—left little room for doubt. The shockwaves were immediate. Investor confidence collapsed. The Dhaka Stock Exchange saw its sharpest single-day drop in five years. Foreign direct investment approvals fell nearly 40 percent in the second half of 2024, according to the Dhaka Chamber of Commerce and Industry. The city, once buzzing with commerce, fell into a hush. Three weeks later on August 5, an interim government was announced, led by Nobel laureate Muhammad Yunus along with a panel of technocrats and civil society leaders. Their mandate: restore stability, rebuild trust, and prevent further economic unraveling. The Economic Aftershocks The July Uprising, as it came to be known, left no sector untouched. While the garment and ceramic sectors bore the immediate brunt, the ripple effects extended far wider. The banking system, already strained by years of financial irregularities, teetered on collapse. A post-uprising asset quality review revealed widespread non-performing loans and misappropriated funds, prompting the interim government to initiate recovery drives and liquidity injections. The Bangladesh Bank raised the policy rate to 10 percent to tame inflation and stabilise the exchange rate. Net foreign direct investment (FDI) dropped to a five-year low in 2024, as global investors cited political instability and opaque regulatory frameworks. The World Bank flagged Bangladesh’s deteriorating investment climate, while local chambers warned that the budget lacked a clear roadmap for restoring investor confidence. The energy sector faced dual shocks: gas shortages crippled industrial output, while privatisation efforts triggered an 18 percent hike in urban electricity tariffs, sparking fresh protests. The mental health toll was staggering. A Bangladesh Medical University seminar revealed that 82.5% of injured protesters suffered from depression, and 64% showed signs of post-traumatic stress disorder, underscoring the long-term human cost of the crisis. In the ceramic industry, 70 factories struggled to stay afloat. The Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA) reported that gas pressure—critical for kiln operations—dropped to as low as 2 PSI in some zones, far below the required 15. Production stalled. Costs soared. Their demands were precise: uninterrupted gas supply, priority allocation, compressor permissions, a five-year tariff freeze, and duty-free solar imports. None were met. The garment sector fared no better. The Bangladesh Garment Manufacturers and Exporters Association (BGMEA) confirmed shipment delays averaging two weeks during the unrest. Export Promotion Bureau (EPB) data showed a 7.8% decline in garment exports in Q3 of 2024. Buyers in Europe and North America have shifted orders to Vietnam and India. Smaller exporters faced penalties and lost contracts, according to the Bangladesh Knitwear Manufacturers and Exporters Association (BKMEA). The Foreign Investors’ Chamber of Commerce and Industry (FICCI) called for stronger rule of law, faster customs clearance, and smoother approvals. The Bangladesh Chamber of Industries (BCI) highlighted the plight of agro-processors, many of whom faced wastage and layoffs. Their appeal: concessional loans and tax relief. Even real estate, long seen as a safe haven, stumbled. The Real Estate and Housing Association of Bangladesh (REHAB) reported a sharp drop in property transactions, citing high registration fees, interest rates, and uncertainty over the Detailed Area Plan (DAP) revisions. Across industries, the message converged: without urgent reform, Bangladesh’s hard-earned gains risked slipping away. The Numbers Behind the Crisis The numbers told a sobering story. By late 2024, exports faltered, imports shrank, and growth slowed to its weakest pace in years. The disruptions that began with student protests soon seeped into every corner of the economy, from factories to food markets. Inflation surged through the summer, eroding wages and squeezing households already under strain. Though the pace of price rises eased the following year, the scars remained. Construction sites went quiet, housing demand collapsed, and long-promised infrastructure projects were postponed. The slowdown was no longer abstract—it showed in half-finished bridges and shuttered shops. Private investment also lost its footing. Business registrations dwindled, banks groaned under bad loans, and confidence withered. Even as revenue collection improved, it could not
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The Spatial Journey of Architect Naimul Ahsan
Architecture begins with a dream, but its true value lies in design—making buildings easy to construct, comfortable to inhabit, and meaningful for those who live in them. This is the guiding principle of Naimul Ahsan Khan, founder of Spatial Architects, who spoke about his philosophy on a calm evening in his studio. For Khan, architecture exists for the people. Simplicity is not just aesthetic but ethical—a way to make spaces accessible, functional, and enduring. His career, marked by both imagination and pragmatism, reflects this belief. After graduating from BUET in 2006, Khan began his professional journey at VITTI Sthapati Brinda Ltd., while teaching at the University of Asia Pacific, later joining S. Islam Consultants to gain formative experience. Yet even before these formal beginnings, in 2005, he co-founded Matra Architects with three friends, working from a small room at Sher-e-Bangla Hall before moving to Kalabagan. Though the firm dissolved in 2009, it set Khan on the path to independent practice. That same year, he and his wife, architect Farzana Rahman, established Spatial Architects, which has since delivered over 200 projects across Bangladesh. Khan’s design philosophy is rooted in modernist minimalism, inspired by Mies van der Rohe’s dictum “less is more.” But he translates this principle into a distinctly Bangladeshi context, using simple forms, local materials, and designs that respond to everyday life. Tagore’s words— “simple words are not easy to say”—resonate with him; simplicity in architecture is often the hardest to achieve. Influenced also by Arundhati Roy, who abandoned architecture because of its alienating language, Khan strives to make his work understandable to ordinary people. This approach is evident in his most celebrated project, Shikor. More than a farmhouse, it is a journey back to rural roots, connecting four generations of the family it was designed for. The design process was deceptively simple: reinterpret elements of rural architecture in a universal, contemporary language. The project transformed the surrounding village, too—muddy roads were paved, solar lights brightened the nights, and a community library was built. “A city family reconnecting with their village changed the village itself,” Khan reflects. In Chattogram, his Chandrapuray Kichukhon project challenges the dominance of isolated urban apartments. The nine-storey residence, designed for an extended family, revolves around courtyards, gardens, and communal spaces, reviving collective living in a dense city. “We won’t be here forever, but the memories will remain,” the clients told Spatial Architects—a vision the design honours. Even religious projects follow Khan’s principle of restraint. In Narsingdi, the Baitul Mamur Mosque occupies a modest 55 by 25 feet plot. “It’s such a small piece of land—nothing conventional could be built, so we decided not to force anything,” he explains. Instead, perforated brick walls breathe, and a lightweight metal roof allows air and sunlight to flow freely, creating a spiritual space that feels open and alive. Khan’s influence extends into education architecture. Working with the Education Engineering Department, he is reshaping rigid, prison-like school layouts into environments that foster joy, safety, and learning—a quiet revolution in the country’s classrooms. His work has earned international acclaim: First Prize in the Fael Khair Programme International Competition (2009), the Gold Diploma at the Eurasian Prize (2021, Russia), Best of Best at the Architecture Master Prize (2021, California), and First Prize in the NESCO Head Office Complex Competition (2024). Yet for Khan, success is measured not in awards but in client satisfaction. “I want to put my clients first. Their satisfaction is my real achievement,” he says. Sustainability, for him, is local. “Being local is sustainable,” he asserts, advocating for indigenous materials and designs that respond to climate, context, and community. Initially skeptical contractors come to appreciate the clarity of his solutions, and over time, he has built trusted teams of masons and builders who “understand his language”. Khan is equally outspoken about urban planning in Bangladesh. “We’ve done master plans and detailed area plans, but what we need is urban design,” he insists, warning against overburdening Dhaka and urging development in other cities. He is critical of RAJUK, which he sees as prioritizing promotion over development, emphasizing that regulations must be transparent and serve the public. Deeply influenced by Bashirul Haque and Mazharul Islam, Khan consults their work when in doubt. He admires contemporaries like Kashef Mahbub Chowdhury and Marina Tabassum, while following global figures such as Tadao Ando. He also champions architectural publications, asking, “A hundred years from now, how will people know what Bangladeshi architecture was like?” For him, publications bridge architects and the wider public. Optimistic about the younger generation, he says, “They’re smarter than us. They don’t need our advice.” Yet he encourages students to study more about Bangladesh if they intend to practice locally. Khan’s buildings do not compete for attention—they settle into their surroundings, listening to the land, the people, and the passage of time. For him, architecture is a lived experience, not an abstract statement. By making it easy to build, easy to inhabit, and easy to love, he has created a practice that resonates deeply with the essence of Bangladesh itself. Written By Arefin Murad
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Dhaka’s Moving Tribute to July Revolution
Pedestrians paused in silence, bus conductors gazed from their windows—some recognising familiar faces, others lost in painful memories. A powerful street exhibition in Dhaka displayed haunting images from Bangladesh’s July 2024 Mass Uprising, bringing the city’s recent trauma into public view. “While traditional galleries in Dhaka often cater to only a certain class of people, a floating street exhibition was envisioned as a way to bring art into public spaces—making it accessible to people from all walks of life,” says Taslima Akhter, the acclaimed photojournalist and activist who organised the event alongside Pathshala South Asian Media Institute. On August 11-12 of 2025, five exhibition vans set out from the Raju Memorial Sculpture at Dhaka University, bringing the story of the July Uprising to the streets of Dhaka, covering most of the significant spots where the revolution took place. The key aspects of this floating exhibition were to demonstrate the participation of students, professionals, everyday people—especially women—and the significance of D-Day, August 5. Creatively set up on vans, photographs and artworks were mounted on temporary house-like structures with striking red roofs, drawing the attention of day labourers, students, office workers, chauffeurs, and people from all walks of life—just as they once came together to free the country from the 15-year authoritarian regime under Sheikh Hasina’s government. The vans stopped at key sites of the uprising, letting visitors engage with the images. Organisers admitted the street exhibition was challenging—but they were committed to reaching as many people as possible. Originally planned to honour the martyrs on the uprising’s first anniversary, the exhibition was postponed due to logistical challenges. “What you see now is a collection of the works we were able to gather, with consent from the participating photographers,” said Taslima. She further said how we’re not only fighting the effects of fascist ideology in our society, but also confronting it within our own thought processes. In the past, many artists and photographers hesitated to share their work—uncertain whether to publish without captions, or anxious about choosing the right words. But now, we’re seeing more and more artists overcome that fear, driven by a collective urge to tell the truth through their work. When asked about the downside of everyone having a camera in their hands today, Taslima shared a different perspective. On the contrary, she explained how portable devices have empowered not just photographers but everyday people to document history like never before. If it weren’t for ordinary citizens, much of the horror of the July revolution across the country would have gone unseen. What was once a tool for personal use has now become a powerful instrument for capturing and sharing the truth. Exhibitions like this mark a crucial shift in the power dynamics of information. They democratise memory, ensuring the story of the revolution belongs to everyone—not just a privileged few. They also remind us that art and photography are powerful tools of resistance and collective remembrance. Written by Fariha Hossain Photo: Md. Rasel Ahmed
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Meghna Ceramic’s Fresh brand redefining Bangladesh’s ceramic industry
Sustainability, innovation, and design leadership define Meghna Ceramic Industries Ltd. (MCIL), a concern of Meghna Group of Industries (MGI). Since its establishment in 2021 under the brand Fresh Ceramics, the company has rapidly grown into one of Bangladesh’s leading tile manufacturers while setting new benchmarks in responsible ceramic production. Nestled in Ashariar Char of Meghnaghat, Sonargaon, Narayanganj — nearly 39 kilometres from the capital Dhaka — MCIL boasts the highest tile production capacity in Bangladesh at 51,000 square metres per day. With cutting-edge machinery from the USA, Germany, Italy, and China, and Bangladesh’s longest kiln (261 metres) under a single shade, MCIL reflects both scale and vision. But what truly distinguishes it is a deep commitment to sustainability and environmental stewardship, ensuring growth aligns with ecological responsibility and worker wellbeing. Sustainability at the Core AKM Ziaul Islam, chief operating officer at Meghna Ceramic, explained how Fresh Ceramics is working to remain true to its promise of “A Fresh Start to an Aesthetic Life.” “We have designed our factory to minimise environmental impact while maximising efficiency.” MCIL has taken six core initiatives: Zero Groundwater Dependency: Surface water treated in-house through a Water Treatment Plant (WTP). Wastewater is purified in an Effluent Treatment Plant (ETP) and safely discharged — ensuring a closed-loop water cycle. Emission-Free Operations: Kilns release only clean white vapour, with no carbon emissions or black smoke. Advanced Heat Management: Controlled heat systems eliminate external heat emissions, ensuring worker-friendly indoor conditions. Dust-Free Environment: A dust management system ensures minimal discharge, protecting workers and the community. Renewable Energy Integration: Solar panels feed into the company’s grid, reducing fossil fuel dependence. Daylight Optimisation: Architectural features reduce the need for artificial lighting, lowering electricity use. Together, these initiatives underscore MCIL’s leadership in sustainable manufacturing and its role as a responsible industry pioneer. “We designed the factory not only to protect the environment but also to ensure a safe, healthy, and efficient workplace for our employees,” Islam added. Vision and Growth “The vision behind MCIL was to redefine aesthetic living in Bangladesh by offering high-quality ceramic tile solutions that combine durability, functionality, and design,” Islam said. Fresh Ceramics started with small-sized tiles before expanding across all ranges and surfaces. Known for glossy tiles with exceptional smoothness, it became the first in Bangladesh to introduce a full line of double charge tiles in three market-winning sizes. Building on that success, MCIL now offers matt and matt-carving tiles, with its R&D team pushing innovation to match modern lifestyles. Nationwide, the brand has built a robust distribution network through dealers, retailers, and exclusive showrooms. Its flagship display centre, “House of Aesthetics,” opened in Dhaka’s Hatirpool, with another underway in Chattogram. Innovation and Technology Meghna Ceramic has invested heavily in advanced laboratories and modern systems, ensuring precision, durability, and design superiority. Its laboratory is currently the most advanced in Bangladesh, capable of analysing raw materials and finished products with extreme precision. Social Responsibility “Our parent company, Meghna Group of Industries, is actively engaged in a wide range of CSR initiatives, contributing significantly to community development across Bangladesh,” said the COO. “Uniquely, we have introduced an insurance policy — the first of its kind in Bangladesh’s tile industry — for over 3,000 tile fitters, recognising their essential role in the sector.” Along with this, every year the “Eid Express” campaign is organised, through which the group ensures safe travel for lower-income tile labourers, workers, fitters, and store assistants at dealer showrooms. MCIL also takes pride in other efforts that the group undertakes to contribute to society. “We have currently employed over 1,500 people across our factory, sales, distribution, and support departments. Women are working side by side with men, ensuring an inclusive and diverse workplace,” Islam added. Meghna Ceramic also maintains a clean, safe, and climate-controlled work environment, where skilled and semi-/non-skilled individuals are hired and provided with on-the-job training to help them gain industry-relevant skills. Challenges and Resilience The ceramic industry faces hurdles such as raw material dependency, volatile energy prices, and high taxation. “Over 90 percent of essential raw materials are imported, making manufacturers vulnerable to global fluctuations,” said Islam. MCIL tackles these challenges by running efficient production lines, sourcing through diversified suppliers, adopting renewable energy, and advocating for supportive policies. Market Leadership and Future Outlook Domestically, Fresh Ceramics has become the highest-selling tiles brand in Bangladesh. MCIL is confident of entering global markets soon, backed by international-standard production and competitive pricing. Meghna Ceramic is preparing to expand into sanitaryware alongside new surface technologies and tile sizes. Its strategy balances nationwide reach with a growing focus on metropolitan and cluster markets. “We actively gather market insights and conduct R&D to drive innovation. Our future expansion is designed to make Fresh Ceramics a complete lifestyle solution for customers,” Islam said. Ready for the Global Market MCIL is not just building for the local market — it’s thinking globally. Its advanced production lines, strict quality control, and trend-driven designs make it a strong candidate for international success. “From the ground up, we built MCIL with a global mindset. Our plant layout, automation level, lab testing capabilities, and product design are all geared toward international markets. We’ve already received interest from buyers in the Middle East and Europe,” said Ziaul. He emphasised the brand’s international readiness and commitment to excellence. “Fresh Ceramics is not just a local brand — it’s designed for global demand. Whether it’s product innovation or packaging, we’ve benchmarked ourselves against top-tier global producers. Our leadership believes that only those companies that combine innovation with responsibility will survive in the global arena.” Leading with Purpose With sustainability at its core, innovation driving its growth, and responsibility guiding its social impact, Meghna Ceramic Industries Ltd. is not just producing tiles — it is shaping the
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Driving Tile Innovation in Bangladesh
Introduction: Bangladesh’s Ceramic Industry on the Rise Over the past decade, Bangladesh has witnessed remarkable growth in its ceramic industry, particularly in the field of ceramic tiles. What was once a modest segment catering primarily to domestic demand has now evolved into a thriving sector, contributing significantly to the country’s industrial output, employment, and exports. With rapid urbanization, rising consumer aspirations, and infrastructural development across the nation, ceramic tiles have become a symbol of both practicality and modern living. At the heart of this growth story lies a crucial but often less visible factor: the availability of high-quality raw materials, advanced technology, and reliable technical support. Without a steady supply of consistent, innovative, and globally benchmarked inputs, manufacturers would find it challenging to compete on quality, efficiency, and design. This is where Xphere Global has played a pivotal role through its flagship company, Vidres India Ceramics, driving innovation and providing dependable solutions that have reshaped Bangladesh’s ceramic landscape. Equally important is the role of technology, where Kerajet, Spain, has emerged as a new alternative for world-class digital printing solutions. These advanced technologies are now being introduced to Bangladesh through Trans India Ceramics, the authorized distributor of Kerajet and another group company of Xphere Global. Together, this integrated approach ensures that manufacturers have access to not only the finest raw materials but also cutting-edge printing technology — empowering the industry to deliver tiles and tableware that meet global standards of design and performance. Our Flagship Presence in Bangladesh: Building Trust Over 5 Years A key milestone in the evolution of Bangladesh’s ceramic tile industry has been the entry of Xphere Global and Vidres India Ceramics, which forayed into this market five years ago. Since then, the company has established itself as one of the trusted brands in the sector, delivering reliable solutions that empower manufacturers to enhance quality, innovate with confidence, and stay aligned with global trends. Through a blend of high-quality raw materials, consistency, and innovation-driven partnerships, Xphere Global and Vidres India Ceramics have contributed significantly to raising benchmarks in the Bangladeshi ceramic industry. Our efforts are not just about supplying materials — they are about nurturing long-term relationships and enabling manufacturers to bring world-class surfaces and finishes to both domestic and export markets. Beyond Supply: Technical Support as a Differentiator In the competitive world of ceramics, having access to raw materials is not enough. The real edge comes from knowing how to use those materials effectively to produce innovative, market-ready products. This is where our superior technical support sets us apart. Collaborative Development: Our technical teams work closely with Bangladeshi tile manufacturers, helping them fine-tune formulations, experiment with new surfaces, and troubleshoot production challenges. This collaborative approach ensures that our partners are not just keeping up with trends but setting them. Training & Knowledge Sharing: We conduct technical workshops, training sessions, and joint development programs to upskill local teams. By transferring knowledge and expertise, we empower manufacturers to push boundaries and explore new market opportunities. Problem-Solving Expertise: From glaze application issues to kiln performance, our experts provide hands-on guidance, reducing downtime and ensuring smoother operations. For many manufacturers, this level of support is the difference between staying competitive and falling behind. Technology Partnerships Driving Innovation Alongside raw material excellence, technology plays a transformative role in defining the competitiveness of the ceramic industry. Here, Trans India Ceramics has emerged as a crucial partner, serving as the official distributor for Kerajet S.A., Spain. Kerajet is recognized globally as a pioneer in digital printing technology, delivering highly effective printing solutions that cater to both the ceramic tile and tableware industries. By bringing this cutting-edge technology to Bangladesh through Trans India Ceramics, manufacturers are now empowered to produce tiles and tableware with superior design precision, versatility, and efficiency, ensuring they meet the evolving demands of both domestic and international consumers. This synergy of world-class raw materials, robust technical support, and state-of-the-art printing technology positions Bangladesh’s ceramic sector to compete confidently on the global stage. Leveraging Global Trends for Local Growth Ceramics is a truly global industry, with trends often originating in Europe, the Middle East, or Asia before spreading worldwide. Our presence in multiple international markets gives us a unique vantage point to bring global insights into the Bangladeshi context. Some of the key global trends we have been helping Bangladeshi manufacturers embrace include: Large-Format Tiles: Growing popularity of slabs and large surfaces for modern architecture and interiors. Eco-Friendly Production: Increased demand for sustainable, low-carbon processes and recyclable materials. Digital Printing & Advanced Surfaces: Innovative printing technologies creating wood, stone, and marble-like finishes. Functional Surfaces: Anti-slip, antibacterial, and easy-to-clean finishes gaining traction with health-conscious consumers. By aligning our raw materials and technical services with these trends, we enable Bangladeshi producers to compete not only in domestic markets but also internationally, enhancing the reputation of “Made in Bangladesh” ceramics.
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CERAMIC FORUM SPARKS BANGLADESH-CHINA INDUSTRY SYNERGY
In mid-July, Dhaka hosted the Asian Ceramics Technology 50 Forum at Hotel Amari’s Eden Grand Ballroom, marking a pivotal moment for Bangladesh’s ceramic industry. The event gathered leaders from Bangladesh and China to explore innovation, efficiency, and cross-border collaboration under the theme “Product Quality & Production Efficiency Enhancement and Investment Opportunities in Bangladesh – Win-Win Cooperation.” Delivering the welcome address, Irfan Uddin, general secretary of the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA), emphasised knowledge-sharing and sustainable growth. Praising China’s global leadership in ceramics, he said their participation reflected a shared commitment to regional cooperation. Chief guest Md Mamunur Rashid FCMA, acting BCMEA president and additional managing director of X Ceramic Group, highlighted the forum’s role in strengthening Bangladesh-China ties through joint ventures, technology transfer, and strategic investment. “Forums like this serve as a powerful platform for dialogue, innovation, and mutual growth,” he said, citing supportive government policies. The first technical session, chaired by Mohd Ziaul Hoque Zico, director of BCMEA and CEO of Hua Thai Ceramics, focused on quality and efficiency. Speakers included consultant Engr. Sadat H. Talukder and Luo Fei of Foshan Uniceramics Development. Discussants Saidur Rahman Khan of Akij Ceramics and Yang Shuilan of Foshan Lang Kun Electromechanical added insights. Yang noted rising consumer demand and costs, stressing that “quality and efficiency are not trade-offs but the double-helix genes of survival,” citing intelligent kiln control and AI visual inspection. Talukder pointed out Bangladesh’s low global market share—0.48% in tableware, 0.005% in sanitary ware, and 0.001% in tiles—despite resources, urging advanced kiln technologies, solar integration, and skill development. Khan said quality depends on customer satisfaction, warning that internal and external failures drive up costs, making productivity gains essential. The second session, chaired by Mahin Bin Mazher, adviser to BCMEA and MD of X Ceramic, explored cost reduction and tile performance. Mohammad Bayazed Bashar of DBL Ceramics proposed using locally sourced liquid sodium silicate to cut costs by 50%. He showcased DBL’s zero-waste strategy and cogeneration initiatives that saved 18.8 million standard cubic metre of gas—worth $1.2 million—with pilots targeting net-zero emissions by 2030. Liu Zhanjie of Foshan Uniceramics noted Bangladesh’s rising output. In 2023, the country produced 280 million square metre of tiles and 16 million sanitary ware pieces, with per capita tile consumption at 1.65 sqm—far below China’s 6.9 sqm in 2017 He projected tile output could reach 700–840 million sqm and sanitary ware 40–48 million pieces in a decade. AKM Ziaul Islam of Meghna Ceramic stressed lowering costs and boosting efficiency, citing the sector’s evolution since 1984 and labour advantages. Sun Bowen of Zibo Huayan detailed high-strength ceramic rollers and shuttle kiln technology, with 1.5 million-piece annual capacity. The final session, chaired by Dr Md Anwar Ullah FCMA, featured Md Mominul Haque of LankaBangla Investments, who cited GDP growth of 3.8–3.97%, inflation easing to 8.48%, and reserves rebounding to $31 billion. He noted Bangladesh’s emergence as the 9th largest consumer market by 2030. Muhammad Nazrul Islam of Sandhani Life Finance urged foreign investment, citing high dividend yields. Joanna Sun of Tangshan Hexiang highlighted sanitary ware expertise and 536 patents, including 37 inventions. The forum concluded with a shared vision: Bangladesh-China cooperation can drive innovation, reduce costs, and elevate Bangladesh’s ceramics industry to global prominence. Photo: Courtesy Written by Sajibur Rahman
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Industry Leaders Unite for a Greener Bangladesh
A Call for Sustainable Transformation On January 30, 2025, the Sheraton Hotel in Dhaka hosted “Shaping Bangladesh: Designing Tomorrow, Building Today”, a landmark event organised by Ceramic Bangladesh Magazine. It brought together leaders from construction, real estate, and ceramics to champion sustainability and innovation in response to environmental challenges. Thought Leadership for a Greener Future As part of the series “Innovating for a Sustainable Future II”, the multi-panel format featured experts from ceramics, cement, and real estate. Moderated by Dr. Amir Ahmed of Daffodil International University, the panels included Muhammad Badrul Hassan (BBS Cables), Salehin Musfique Sadaf (GPH Ispat), Architect Faysal Ahmed (Concord Real Estate), AKM Ziaul Islam (Magna Ceramic), Mohammad Khorshed Alam (Akij Bashir Group), Asadul Haque Sufyani (Metro Cement), and Babor Hossain (Khadim Ceramics). Key Recommendations for Sustainability Panelists urged greater investment in R&D to reduce reliance on imports and foster local innovation. They called for collaboration across sectors to promote recycled materials and eco-friendly components. Suggestions included using fly ash and slag in cement, adopting hybrid or electric furnaces, and implementing energy-efficient manufacturing. Smart Materials and Policy Reform Experts advocated for smart glass technologies—low-E, solar, and self-cleaning—to boost building efficiency. They also recommended policy reforms to protect local manufacturers from zero-tariff imports and emphasized the need for government-run clay mines to secure raw materials for ceramic production. Bangladesh’s Tile Industry Comes of Age AKM Ziaul Islam highlighted the tile industry’s evolution since 1984. “We started with 100 mm tiles in one color. Now, we export to the USA,” he said. Despite high production costs, innovation has improved working conditions and sustainability, making the industry globally competitive. Real Estate and Domestic Innovation Architect Faysal Ahmed reflected on the sector’s overreliance on imports between 2000 and 2015. He stressed the importance of collaboration among architects, engineers, and academics to develop sustainable materials locally and reduce dependency on foreign technologies. Material Optimization for Environmental Impact Salehin Musfique Sadaf emphasized that optimized material use can reduce emissions and speed up construction. “Using 15,000 kg of cement instead of 20,000 kg without compromising strength means real sustainability,” he explained. Rethinking Cement and Energy Asadul Haque Sufyani discussed the carbon footprint of cement production and promoted fly ash and slag as eco-friendly alternatives. He stressed the need for affordable, sustainable materials and energy-efficient technologies. Energy Crisis and the Future of Glass Mohammad Khorshed Alam raised concerns about gas shortages affecting glass furnaces. He urged investment in hybrid furnaces and advanced technologies and called on architects to incorporate more locally produced glass to avoid overcapacity and unsold stock. Ceramic Bricks: A Smarter, Greener Choice Babor Hossain showcased ceramic bricks’ advantages over handmade red bricks—lower water absorption, higher strength, and reduced structural load. “They were used in national landmarks and can cut construction costs by 13 percent,” he said, advocating for government-run clay mines to sustain innovation. A Unified Path Forward The event concluded with a call for synergy among policymakers, industry, and academia. With rising climate risks and infrastructure demands, embracing innovation is not just strategic—it’s essential. Photo: Courtesy
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Create your story in the alley of Kalabagan
magine walking down a road in a residential area when suddenly an old brick gateway catches your attention. A softly lit alley leads you towards a small, cosy restaurant with a beautiful antique and warm ambience. Located right beside the popular “Tea & Tea” restaurant and owned by the same person, this place remains crowded most of the time. Youngsters keep the restaurant lively throughout the day, while in the evening and at night families usually come here to dine. The cosy environment, ambience, décor, and food, everything is bound to make your time memorable. Architect Hashim Reza Opu, principal architect of Arch_Station, is the designer of this beautiful restaurant. He shared with us the design journey, concept, theme, and challenges. Designing a restaurant in such a compact area, only 12 by 23 feet, or 550 square feet in total, while accommodating seating, a counter, a spacious kitchen, an attached toilet, and even a semi-outdoor smoking zone, was a huge challenge. The building was old, and the designer wanted to keep its essence intact. Creating an antique-themed restaurant within a limited budget and compact space was also demanding. To meet the challenge, he began with the layout plan. By removing partition walls, he created a free-flowing space for the main dining area. Ar. Opu said, “Creating a memory, creating a story was the main concept of the design. Stories can be of many types — rock story, sad story, soft story, museum story. But what I wanted to tell was an old story. Kalabagan is a nostalgic place for many. People have memories here. I wanted to preserve that memory.” The walls, with plaster falling off in many places, were preserved in their natural undulated patterns. A basic colour coat was applied to the brick portions, and the lower plastered layer was finished with a thick skim coat in the colour of old lime plaster. This undulation gives the walls the vibe of a broken hill. Seating was carefully designed with ergonomics in mind. Sofa heights were adjusted for comfortable dining, and circulation was kept clear. Multiple seating modules make the compact space versatile: couple seating, four-person arrangements, and cluster options where two four-person tables can easily host eight. There’s also a single chair tucked into a corner by a bookshelf, where someone can sip a drink and read; either a book, or simply the whole atmosphere of the place. The handcrafted, polished tables are beautiful enough to spark curiosity about their story. Every detail starting from the tables to the antiques on the wall, from the windows to the ceiling ribs is thoughtfully designed to capture attention. The window grills, repurposed from the upper floors, were painted in vintage green and white. The ceiling features wooden ribs reminiscent of old zamindar houses, with concealed lighting that creates a warm ambience. The lighting adapts to the crowd, with three different moods: concealed ceiling lights, hanging lamps above tables, and directional spotlights highlighting the exhibits. The walls act as canvases, displaying art and antiques: rickshaw wheels with strip lights, a striking wood carving of a woman, an antique clock, a heavy bell, and more. Solid doors were partially replaced with glass, creating curiosity and ensuring visibility of the place. On one wall, an “urban elevation” was designed with two doors and two windows, and even a vintage grill was placed on a closed wall to continue the elevation effect. The counter is particularly unique. Built from the bricks of the existing walls, it alternates layers of wood, brick, and lime plaster, with lighted glass voids in between. This experimental design turned out beautifully. Behind it, a compact 8-by-12-foot linear kitchen supports the operation. One highlight is the “Van Gogh Corner,” where a large Café Terrace at Night painting adorns the wall. This veranda-like space serves as a smoking zone and makes visitors feel as though they are inside the painting. The artwork extends into the seating area and lighting, with warm illumination falling on stone flooring below. Every small detail contributes to the crafted atmosphere. The walkway, handmade with brass concrete textured using nails, is designed like a landscaped path inside a city alley. From its entryway to its tiniest detail, the restaurant tells a story; a story of memory and nostalgia, enriched with antiques and thoughtful design. The alley of beautiful memories is waiting for you in Kalabagan. Written by Sadia Tarannum
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A Legacy Written in Brick and Trust
In 1992, when Dhaka’s middle class was just beginning to dream beyond modest apartments, a quiet vision began to take root. It was not about towers or market share but something simpler: “We stand for more than just buildings. We stand for trust, quality, and long-term relationships,” said Wasif Shamsul Alamin, Executive Director of Shamsul Alamin Group. That ethos, inherited from his grandfather, has since grown into one of Bangladesh’s most enduring real estate legacies. From its official founding in 2003, Shamsul Alamin Real Estate Ltd. built its reputation project by project, with a principle as straightforward as it was profound—do what you promise. “Our reputation wasn’t built on advertising slogans; it was built on living up to our core principles of trust and quality, project after project,” Wasif explained. Today, with more than 50 completed projects across Dhaka, the company’s presence stretches from Gulshan and Banani to Uttara, carrying forward a legacy of care, not just construction. Resilience in a Changing Market The journey has not been without challenges. Financing remains a major obstacle, as higher bank rates strain both buyers and developers. Rising costs of steel, cement, and land add further pressure. Yet the company continues to innovate, exploring modern methods like steel-frame construction and embedding sustainability features such as rainwater harvesting and energy-efficient materials. “We’re not driven by volume or profit. We’re driven by purpose—to create high-standard, thoughtfully designed living spaces,” Wasif said, underscoring how the firm positions itself in a market projected to reach $3.53 trillion by 2028. Living Spaces with Soul In Baridhara’s diplomatic enclave, the company’s philosophy finds expression in Alamin Tonmoy, a residential project that feels more like a sanctuary than a structure. With its lush greenery and private, one-apartment-per-floor design. Tonmoy embodies what Wasif describes as “homes, not just properties”—spaces where life breathes and privacy thrives. Back in Gulshan 1, Alamin Angur offers another lens into the company’s vision. Its three-bedroom residences reflect tranquillity and family living, designed for those who value both space and community. Angur demonstrates the company’s sensitivity to everyday life in Dhaka, marrying functionality with understated elegance. Workspaces for a Modern City If Tonmoy and Angur show the company’s care for private living, its commercial ventures display equal attention to the rhythm of modern business. In Banani, A&A Alamin Business Bay reimagines what a workspace can be. With thermal glass façades and wellness- oriented design, it is less about corporate square footage and more about creating an environment where businesses flourish holistically. At Kakrail, Alamin Capital Square rises with quiet confidence. Its design balances aesthetics with longevity, providing corporate tenants not only modern facilities but also a sense of permanence. From prayer spaces to community floors, the tower reflects a corporate philosophy grounded in dignity and practicality. Further north, in Uttara, Plaza 15 stands as a landmark of accessibility and commerce. Along the wide Gareeb-E- Newaz Avenue, the development’s positioning makes it a hub where business meets community. Its scale and convenience are matched by a forward-looking approach to safety, offering Dhaka’s new commercial class both ambition and assurance. Problems that Demand Solutions Yet behind this skyline of promise lies a sector grappling with deep-rooted problems. Financing remains perhaps the most pressing. As Wasif explained, interest rates on home loans now hover between 9 and 18 percent, making mortgages unaffordable for many aspiring homeowners. Developers, too, feel the squeeze as project financing grows increasingly expensive. “We saw the positive impact when government pushed for single-digit housing loans,” he recalled. “Those initiatives truly stimulated demand. To keep this growth going, we need a similar approach.” Land scarcity in Dhaka adds another layer of complexity. Prices continue to soar, putting pressure on companies committed to affordability. Add to this the volatile costs of raw materials—cement, steel, glass—and the challenge of offering high-quality housing at reasonable prices becomes all the more daunting. For firms like Shamsul Alamin Real Estate, the task is not only to build but to do so within constraints that demand creativity and resilience. A Sector of Immense Potential Still, the potential of the sector is undeniable. With rapid urbanisation and a rising middle class, demand for housing remains resilient—even in the wake of global disruptions like COVID-19. Over the past 15 years, Bangladesh’s real estate market has witnessed remarkable growth, now valued at $2.68 trillion and projected to expand to $3.53 trillion by 2028. “Urbanisation and rising incomes are driving huge demand for homes. The numbers speak for themselves,” Wasif observed, framing real estate as not just an economic driver but a reflection of the nation’s transformation. Charting a Way Forward The solutions, according to Wasif, must come from both industry and policy. Innovation in design and construction can help lower costs and speed up delivery. Techniques like steel-frame building, once an experiment, are now becoming viable tools for efficiency. Sustainable features—energy-saving materials, green spaces, rainwater harvesting—are being embedded not just for environmental reasons, but because they reduce long- term living costs for homeowners. Policy, too, must evolve. Affordable, long-term mortgage schemes would unlock home ownership for middle-income families, while easier access to credit for developers could keep projects moving forward. Collaboration between state and private sector, Wasif argued, is the key to ensuring that the housing dream remains within reach for millions of Bangladeshis. Building More than Structures For Wasif, the mission is deeply personal. “Working in this company means being part of something bigger than just business—it’s about contributing to a legacy of honesty, care, and creating lasting value in people’s lives,” he said. In his words, real estate is not about concrete alone—it is about the dreams of families, the pride of ownership, and the future of a city that is still writing its skyline. Shamsul Alamin Real Estate
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SACMI Continua+ Veloce: unmatched productivity
Available on all models, this new configuration delivers higher speeds and output rates up to 35,000 square meters per day. Further new features: it’s now possible to produce fired slabs up to 200 cm wide, with all the intrinsic advantages of a technology that sets the industry standard for productivity, versatility and low consumption. The number of solutions sold worldwide is now fast approaching 200. More productivity, less waste and lower consumption are the hallmarks of SACMI ceramic plants. Now, the Continua+ Veloce configuration takes those advantages to the next level. With this latest hyper-productive PCR version, the world-leading Continua+ slab and sub-size manufacturing technology now delivers higher speeds and a productivity up to 35,000 m2 per day for single machine. Now available on all PCR models, the Veloce configuration enhances the intrinsic advantages of this technology: for example, with the increased productivity, specific consumption at the compaction stage – already the world’s lowest – drops to just 0.04 kWh/m2. And there’s more. It’s also possible to combine the Veloce configuration with a broader compaction front to let manufacturers produce fired slabs up to 200 cm wide, vary thickness from 3 to 30 mm and obtain potentially infinite lengths. The increasingly popular Continua+ (the number of solutions sold worldwide is fast approaching 200) continues to be the leading ceramic slab and sub-size production technology. On Continua+, in fact, compacted scrap is always less than 1.5% regardless of the size, with all of it able to be recycled back into the process. Recipes and settings can be controlled flexibly via the operator panel, while motor-driven size changeovers maximize efficiency when handling complex, diversified production mixes. Quiet, easy to manage and with powerful results, Continua+ also reduces hydraulic oil requirements by over 90% compared to traditional or discontinuous presses. Slow, controlled de-airing ensures product uniformity and consistency, resulting in versatility with all body types and outstanding quality: a vital finishing touch to a solution that lies at the heart of the SACMI ceramic plant. More power, more control: alongside the latest Continua+ configurations, customers can also enjoy the advantages of new process control devices such as Optima+, part of the broad range of vision systems with which SACMI completes digitalization of the plant, simplifying its running while reducing the need for manual tasks.
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Gruppo Tecno Ferrari S.p.A.
Gruppo TecnoFerrari S.p.A. is a leading Italian company with over 55 years of experience in manufacturing and supplying industrial automation for ceramics. The company’s product range includes – Handling and storage systems – Intralogistics solutions – Digital printers – Vision, quality control, and end-of-line systems Thanks to the high-quality know-how, TecnoFerrari extends its service to all manufacturing sectors, with a focus on ceramics, automotive, glass, food and beverage, paper and tissue. TecnoFerrari guarantees maximum plant reliability and the efficiency of highly customized solutions. New Product Details TecnoFerrari introduces a new way of digital decoration and application. The Decora line-up includes super-rigid monocoque frames with configurations that can accommodate 2, 8 or 12 colour bars, offering flexibility to design an optimized decoration line. Decora 2 takes the concept of flexibility to the next level by allowing the enrichment of the ceramic surface through the use of functional inks. It offers a new way of digital glazing. Same layout, same raw materials, but different effects. Unique Features: Compact, Flexible and Movable. Uses: Ideal for creating special effects and functional surfaces. Benefits: No more static images: each product becomes a unique, personalized piece. This technique delivers outstanding performance, especially in the production of structured or functional surfaces, combining the mass of material with the definition of the printed design. It can synchronize with existing printing machines, enabling optical centering of the image on tile.
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Stability at a Cost Monetary Discipline Tests Industrial Resilience
Businesses grappling with rising borrowing costs and surging energy prices are set to face additional pressure in the second half of this year, as the country’s central bank has decided to hold its policy rate steady at 10 percent for the July-December 2025 period. Bangladesh Bank has sent a clear message: the contractionary stance will remain in force until inflation falls below the 7 percent threshold. While the central bank frames this as a necessary measure to rein in stubbornly high prices and safeguard macroeconomic stability, the impact on businesses is already being felt. Key sectors such as ceramics, ready-made garments (RMG), and leather are contending with elevated borrowing costs and energy prices—pressures that threaten profitability and investment momentum. Prof Dr Mustafizur Rahman, distinguished fellow at the Centre for Policy Dialogue (CPD), warns that these rising costs are undermining business confidence and long-term growth prospects. He urges policymakers to focus on reducing non-borrowing expenses and to introduce targeted support measures. Without sustained reforms and a more balanced policy mix, he cautions, the trade-off between inflation control and economic vitality may become increasingly difficult to manage. Businesses Under Strain For Bangladesh’s industries, the continued high-interest environment presents a significant challenge. Sectors such as ceramics, RMG, and leather—cornerstones of the economy—are squeezed between rising input costs and shrinking access to affordable finance.\ “Maintaining a 10 percent policy rate is a cautious but necessary step in the present inflationary environment,” said Md Mamunur Rashid FCMA, senior vice president of the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA). “A disciplined monetary stance will help restore investor confidence, but it must be aligned with supportive fiscal policies,” he added. He highlighted the severe pressures facing manufacturers: “The ceramics sector relies heavily on a stable gas supply. Frequent gas shortages and substantial price hikes are pushing production costs up by 18–20 percent. This not only reduces profit margins but also makes debt servicing more difficult.” “Without stable exchange rates and smoother access to credit, businesses will struggle to remain competitive.” The RMG sector, already confronting new US tariffs, faces similar headwinds. Higher borrowing costs for working capital, coupled with uncertain global demand, threaten to dampen earnings and investment. Expert Analysis CPD’s Mustafizur Rahman said businesses such as RMG, ceramics, and leather are facing formidable challenges due to Bangladesh Bank’s contractionary policy, with its high policy rate of 10 percent. The elevated rate drives commercial bank lending rates upward, resulting in increased costs for businesses. He added that rising gas and electricity prices are further escalating operational costs, making it even more difficult for firms to sustain profitability. Prof Rahman suggested that Bangladesh Bank may consider reviewing the policy rate once inflation drops to 7 percent. In the meantime, policymakers should provide support to businesses by helping reduce non-borrowing costs. He noted that reducing inflation depends on multiple factors, including uncertainty reduction, law and order, political stability, fiscal policy, and market management. In Bangladesh, tightening monetary policy alone cannot produce the desired results. “The current contractionary monetary policy is being pursued at a time when the economy is experiencing investment stagnation,” he said. Prof Rahman argued that the rate should be revised once a sustained downward trend is observed. He also pointed out that while contractionary monetary policy aims to curb inflation, high borrowing costs undermine investment and raise the cost of doing business. Such pressures may weaken supply-side responses, which in turn could fuel inflation. Moreover, high inflation often triggers demands for higher wages, further pushing up prices. The trade-offs are therefore evident. According to Prof Rahman, reducing the cost of doing business and improving the overall business environment are particularly important when a contractionary monetary policy is in place. Otherwise, the very objective of such a policy could be undermined. BB Holds Firm Bangladesh Bank Governor Dr Ahsan H Mansur defended the decision, stating, “Until inflation comes below 7 percent, the policy repo rate will remain unchanged.” He argued that macroeconomic stability is a prerequisite for sustainable growth. Inflation has eased from a peak of 11.66 percent in July 2024 to 8.48 percent by June 2025. Gross foreign exchange reserves have inched up to $26.7 billion, and the adoption of a fully flexible, market-based exchange rate regime has brought a measure of stability to the currency market. The central bank cautioned that ongoing cost pressures from past currency depreciation and US tariff measures could hinder a sustained fall in inflation. Navigating the Road Ahead Experts emphasised that monetary tightening alone is not enough. Dr M Masrur Reaz, chairman and CEO of Policy Exchange Bangladesh, called the central bank’s stance “the right move in the current context” but warned it must be complemented by fiscal reforms, banking sector consolidation, and supply-side efficiency. Despite headwinds, growth is projected to rebound to between 5 and 5.5 percent in FY26. The central bank has signalled it may adjust the policy rate if businesses are severely affected by US tariffs, but only in a way that safeguards inflation objectives. For now, businesses must contend with tight credit, rising input costs, and global uncertainties. The resilience of firms and the pace of structural reforms will determine how well Bangladesh balances inflation control with economic growth. Written By Sajibur Rahman Photo: Courtesy
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A Showcase That Brings Dreams to Living Rooms
At big housing expos, the noise is usually deafening — developers pitching, buyers bargaining, stalls glittering with scale models of shiny towers. This year, the spectacle has gone quiet. The DBL Ceramics Online Housing Fair, hosted by Prothom Alo Digital, opened on August 25 with only a small ceremony at Hotel Sonargaon, while most of the action unfolds on computer screens and phones. Over the next ten days, until September 3, prospective buyers can browse more than 256 projects from 38 housing companies on abashonmela.pro. The listings include 283,000 kathas of land, 5,230 flats, and 412,000 square feet of commercial space — all available to explore without leaving home. The fair’s slogan captures the idea simply: “The Opportunity Has Come Again. Find Your Dream Home from Home.” A Digital Market for a Stubborn Dream Bangladesh’s appetite for land and housing has never been small. In a country where urbanization runs ahead of infrastructure, the dream of owning a flat in Dhaka remains one of the most powerful middle-class aspirations. Families save for years, often with support from relatives abroad, only to find that prices have risen faster than their savings. With national elections due in February, many are waiting for signs of stability before taking the plunge. Against this backdrop, the launch of an online housing fair offers more than just marketing. It is, for many, a way to keep the dream alive. “Organising an online housing fair was a new idea in Bangladesh,” said Matiur Rahman, Editor and Publisher of Prothom Alo, at the inauguration ceremony in Dhaka. “Through it, we even gained international recognition.” He acknowledged the pressures the industry now faces. “The housing sector is going through a crisis, largely because of the political transition a year ago,” he said. “Every political change affects business. We hope that after the coming election, a new government will create the stability we need to move forward.” “The world is moving forward rapidly,” said MA Quader, Deputy Managing Director and Group CEO of DBL Group. “Whether in Dhaka or abroad, you can now search for flats and plots online. That opportunity is a gift.” For many, the gift is convenience. For developers, it is survival. With traditional sales slowing, the fair offers visibility at a time when foot traffic to offices and showrooms has dwindled. Shoppers browsing from London or Singapore can now weigh Dhaka apartments with the same ease as airline tickets. A growing diaspora, sending billions in remittances each year, is becoming a crucial customer base. “Earlier, you had to call an uncle or cousin to check on a property,” said one Dhaka-based banker. “Now you can compare projects in minutes. That changes everything.” “The online housing fair has brought a new wave of enthusiasm to the sector,” said Md Wahiduzzaman, President of REHAB. “Our members are eager to take part, and interest will only grow in the future as people can now search for their preferred flats from the comfort of home.” Cracks in the Foundations Yet the optimism is tempered. Executives across the sector point to one persistent obstacle: the Detailed Area Plan (DAP) for Dhaka, which limits the height of new buildings across 80 percent of the city. “Since the new DAP notification, the housing sector has been paralysed,” the REHAB president said. “Our members face restrictions that make new projects difficult.” A recent government meeting on potential revisions has raised hopes, but until decisions are finalised, developers remain cautious. “If the revisions are confirmed next month, businesses will be able to work again,” he added. The debate over DAP is not just technical. It touches on the core dilemma of Dhaka: a city bursting with people but running out of space. Environmentalists argue that unchecked vertical growth could worsen congestion and strain utilities. Developers counter that without high- rise flexibility, affordable housing will vanish. At the same time, bankers and financiers know the larger picture cannot be ignored. Loans are harder to secure, construction costs remain high, and global uncertainties feed into domestic anxieties. Still, the fair pushes ahead, offering a window into what is possible when policy, finance, and consumer demand align. A Ballroom of Deals and Dreams The launch night itself mixed hard economics with ceremony. Executives from IPDC Finance, Eastern Bank, Hatil, Angan Developments, Chhuti Resort, Haque Home and Builders, Onward Developers, and Shopnonibash Group took the stage. Their speeches circled back to the same themes: resilience, innovation, and the promise of stability. “I am very optimistic,” said Quader of DBL Group. “After every night comes the morning and sunrise. We are waiting for that day.” The fair’s format reflects this optimism in action. Visitors logging on to abashonmela.pro can sift through offerings ranging from compact apartments to sprawling land plots. They can compare financing packages from Eastern Bank and IPDC Finance. They can weigh furniture solutions from Hatil or imagine a holiday escape at Sea Pearl Beach Resort, a co-partner of the fair. It is part commerce, part imagination: the picture of a different life assembled from a grid of images and brochures. For some, that picture might mean a first family flat in Mirpur; for others, a gated community on the city’s northern edge. A Who’s Who of Builders The roster of participants this year reads like a directory of the sector’s leading names: Amin Mohammad Foundation, Rangs Properties, Edison Real Estate, Tropical Homes, Anwar Landmark, Asian Duplex Town, JBS Holdings, North South Group, Credence Housing, Swapnonibash Assets, Bhaiya Group, Concord Group, Nest Developments, Doyel Development Properties, Team Developers, Eminence Technologies, Unimass Holdings, Haque Home and Builders, and Pinaki Holdings. For them, the fair is not just a sales platform but a chance to signal staying power. In a fragile market, visibility matters, and buyers often look for reassurance as much as bargains. “We want to show that we’re still here,” said one developer privately. “That continuity matters in
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Designing with Light Living with Heart Architecture of Ziaul Sharif
In the narrow lanes of early 1990s Dhaka, a young boy paused in front of construction sites and miniature models displayed on black-and-white television sets. These fragments of the city—raw, unfinished, full of potential—captured his imagination. For Ziaul Sharif, architecture began not in a classroom, but in the rhythm of passing buildings, the dance of light on brick, and a deep curiosity about how spaces are made. Now the founder and principal architect of Vuu-Maatra Consultants, Ziaul Sharif is shaping a quietly radical vision for contemporary architecture in Bangladesh—one where light, air, greenery, and local wisdom are not design options, but essentials. A Creative Foundation Born in Rajshahi and raised in Dhaka, Ziaul Sharif grew up in a home where intellect and creativity were part of daily life. His father, MM Shahidullah, practised law with conviction; his mother, the late Mrs. Shireen Shahid, fostered a home filled with music, art, and community spirit. From teaching music to children at Ghashful Khelaghar Asor to painting and acting, Sharif’s early exposure to the arts enriched the spatial sensibility that now defines his work. After completing his education at Rayer Bazar High School and Dhaka City College, Sharif pursued architecture at BUET, one of Bangladesh’s most respected institutions. There, he studied under the renowned Professor Shamsul Wares and found himself drawn to the work of Louis Kahn—especially the National Parliament Building, whose poetic use of space and light remains a lasting influence. Design as Responsibility Sharif’s early professional journey included stints with Bashirul Haque & Associates, Indigenous Architects, and Nandan Architects. In 2006, he took on the resident architect role for Westin Dhaka, a five-star hotel project that refined his understanding of scale and detail. But it was in 2008, with the founding of Vuu-Maatra Consultants, that his practice truly found its voice. Today, the studio is home to 15 designers, architects, and engineers, and their portfolio spans from high-rise commercial buildings to hotel interiors and private residences. But what sets the firm apart isn’t the scale of its projects—it’s the intention behind them. “We don’t just design buildings,” says Sharif. “We design environments for life. For growing up, resting, healing, thinking. For breathing.” This approach is deeply humanistic, rooted in the belief that architecture has a profound impact on the mental and physical well-being of its occupants. In a city where poorly ventilated, densely packed housing is the norm, Architect Ziaul Sharif advocates for an alternative: buildings that breathe. Vasat Vita: A Living Prototype Nowhere is this philosophy more evident than in Vasat Vita, Architect Ziaul Sharif’s residence and studio in Dhaka’s Aftabnagar. Completed in 2022, this three-storey structure sits on a compact 200-square-metre plot but opens inward to an expansive experience of air, light, and greenery. Built with passive cooling principles inspired by Vaastu Shastra, the building features a central courtyard open to the sky, a waterbody that moderates internal temperatures, and a layered brick façade that filters sunlight while ensuring privacy. A ribbon of plants tucked between the perforated brick shell and the glass wall brings nature directly into the building’s envelope. “Vasat Vita is not just a home or an office,” Sharif explains. “It’s a lab for ideas. A demonstration of how we can live better, even in the tightest corners of Dhaka.” The project was recently featured in ArchDaily, highlighting its relevance not just to local contexts but to global conversations about compact urban sustainability, thermal comfort, and culturally responsive design. Architecture for People Architect Ziaul Sharif’s commitment to accessible design extends beyond his client list. Through Vuu-Maatra, he has initiated a pro-bono programme to offer free architectural services to families who cannot afford professional help. Projects in Khulna and Kushtia, including a residence for Aarti Rani Mandal, are built on this ethos of design as dignity—ensuring that even modest homes receive the same care and thought as luxury hotels. This vision challenges the long-held assumption that architecture is a service for the elite. “Everyone deserves a well-designed home,” Sharif insists. “Good architecture shouldn’t be a privilege. It’s a necessity.” A Future Rooted in the Past Sharif’s work draws as much from memory as it does from modern techniques. He recalls walking past old brick buildings in Old Dhaka, noticing how they aged gracefully, filtering air and light through intricate jaali patterns. These early experiences now manifest in his façades, his ventilation strategies, and his material choices. In an era obsessed with glass towers and instant spectacle, Ziaul Sharif’s architecture is refreshingly quiet. It invites you to pause. To feel. To notice how the air moves, how shadows stretch, and how a space can hold you gently. With every project, Sharif is not just building structures—he’s building the belief: that architecture can be beautiful, democratic, sustainable, and deeply personal. Vuu-Maatra Consultants is currently expanding its portfolio across Bangladesh, continuing its mission of designing with empathy, responsibility, and rooted imagination. Written by Fatima Nujhat Quaderi
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Reviving the Roots: Conservation & Restoration Progress Reflections by Conservation Architect Abu Sayeed M Ahmed
At the anniversary celebration of Ceramic Bangladesh Magazine, esteemed conservation architect and heritage specialist Abu Sayeed M Ahmed presented “Reviving the Roots: Conservation and Restoration Progress”—a heartfelt journey through two decades of architectural conservation across Bangladesh. With vivid images and powerful anecdotes, he reminded the audience that conservation is not about romanticising ruins—it is about safeguarding identity, craftsmanship, and cultural continuity in a nation at risk of forgetting itself. “Every day in Dhaka, a piece of our heritage vanishes. Buildings are bulldozed in the name of development. But without roots, how can we grow a future that is truly ours?” Bringing History Back to Life Nimtali Deuri & Naib-Nazim Museum, Dhaka Abu Sayeed M Ahmed’s first major restoration was the late Mughal-era Nimtali Deuri in Old Dhaka. Hidden under layers of plaster. The restored gateway now houses the Naib-Nazim Museum, commemorating the deputy governors of Dhaka and reflecting a revived connection between the city and its Mughal past. Uttar Halishahar Mosque, Chattogram This 200-year-old mosque was facing demolition for modern expansion. Upon assessment, its authentic Mughal character became evident. Abu Sayeed’s team removed inappropriate cement layers, dismantled an added veranda, and re-clad it in traditional lime and surki. Locals now call it a “Gayebi Mosque”—as if it reappeared by miracle. Nearby, a new mosque by Architect Kashef Mahboob Chowdhury respectfully contrasts the old, echoing its jali motifs in modern concrete. Hanafi Jame Mosque, Keraniganj Once a modest family-owned mosque, it gained global recognition after restoration—winning a UNESCO Award. A new mosque built adjacent to it by Architect Kashef Mahboob Chowdhury, with full visibility of the old structure—offers a striking example of architectural dialogue between past and present, tradition and transparency. Rediscovering Rural Heritage Buraiich Maulvi Bari, Faridpur Neglected and engulfed by vines, this ancestral home seemed destined for ruin. Through sensitive restoration, it has been transformed into a heritage Airbnb, preserving its traditional character while offering economic sustainability. Period furniture, handpicked materials, and contextual storytelling give visitors a window into Bengal’s rural past. Mithamoin Kachari Bari, Kishoreganj This decaying administrative house—once thought beyond repair—was restored to reflect its original civic purpose. From a wild, overgrown ruin, it emerged as a dignified reminder of regional governance and colonial-era architecture, now serving as an active public building. Urban Civic Revival Narayanganj Municipal Building Among Bangladesh’s earliest municipal structures, it was at risk of being replaced. A dual solution—preserve the old and integrate it into the new. Today, it functions as the entrance to the new Nagar Bhaban (City Hall), and plans are underway to convert its upper level into a civic museum. Baro Sardar Bari, Sonargaon A Mughal-Colonial mansion from the Baro-Bhuiyan era, this structure was revived through corporate social responsibility. South Korea-based Youngone Corporation led the project under the leadership of CEO Kihak Sung, who has familial roots in the region. This model highlights how private sector investment can play a crucial role in cultural restoration. Reviving Lost Icons Dhaka Gate (Mir Jumla Gate) Once a neglected and overgrown monument, the historic city gate has been revitalised with its original grandeur—complete with a replicated fire cannon that signals its defensive legacy. Rose Garden Palace, Tikatuli, Dhaka A jewel of Dhaka’s architectural heritage, the Rose Garden was meticulously restored—from stained-glass panels to ornamental plasterwork. Where pieces were missing, they were reconstructed based on archival records, ensuring authenticity over imitation. Hammam Khana, Lalbagh Fort Perhaps the most complex restoration, the Mughal-era bathhouse had suffered colonial and post-colonial misuse. Funded by the U.S. Ambassador’s Fund, the project uncovered a breathtaking pavilion structure, restored lighting from above (true to hammam tradition), and reestablished the original spatial and sensory quality of the Mughal bathhouse. Crafting the Future with the Past Reviving Chini Tikri Ornamentation A rare local tradition, Chini Tikri—the use of broken ceramic dinnerware to form decorative motifs—was resurrected. The team digitally reconstructed patterns, reproduced the plates, broke them and reapplied them by hand. This craft was even adapted into a contemporary mosque in Noakhali, designed by Architect Mamnoon Murshed Chowdhury and Architect Mahmudul Anwar Riyaad, using waste ceramic products donated by Monno Ceramics. These projects demonstrate what is possible when craftsmanship, community, and conservation come together. They are not just restorations—they are cultural revivals, offering spaces where memory, faith, and identity continue to live. Written by Samia Sharmin Biva
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Clay Dreams Crafted by Hand Ali Ceramic Industry Limited
A Parcel That Changed Everything In the early 1980s, a seemingly ordinary parcel delivered from Italy to a Bangladeshi family quietly set the stage for a life-changing transformation. Inside were handmade clay tiles—simple, earthy, and elegant—that inspired a new industrial journey rooted in tradition. The arrival of the tiles sparked an unexpected curiosity, drawing the family, engaged in ship management, into the intricate world of terracotta craftsmanship. This newfound passion led them from coastal shipping operations to the rural “Pal Para” villages, where generations of potters lived and worked. Decades later, that spark has evolved into Ali Ceramic Industry Ltd (ACIL), a rising name in Bangladesh’s ceramic sector. The company is now dedicated to producing 100% eco-friendly terracotta tiles, continuing a legacy built over 43 years. Backed by deep experience and a commitment to preserving clay artistry, ACIL is on a mission to blend sustainability with tradition. However, the ceramic maker had to go through numerous hurdles to reach today’s position. From economic turmoil to energy challenges, Ali Ceramic’s journey has tested its resilience—making its commitment to green craftsmanship truly admirable. From Shipping to Shaping Clay Before entering the ceramic business in 1982, the family of Ali Askar—now the Managing Director of ACIL—was involved in managing ships. Askar himself was just a Grade 9 student when he first began assisting in the family’s factory office. What started as part-time help during his school years gradually grew into a lifelong calling. The pivotal moment came through a surprising phone call. One day, Askar’s father was contacted by an Italian friend who asked if a product could be manufactured in Bangladesh. Without disclosing details, the friend sent a parcel. Inside were handmade clay tiles—a product so visually striking that it would eventually redefine the family’s business path. In Search of the Perfect Artisan Motivated by the parcel, Askar set out on a mission to find skilled artisans capable of replicating such craftsmanship. He travelled across Bangladesh, visiting various districts and exploring ‘Pal Para’—traditional villages of potters where pottery is not just a livelihood, but a way of life. After surveying several regions, Askar discovered exceptional potters in Satkhira. The Italian friend even joined a visit to the village and was impressed by the quality of work. This validation paved the way for launching an export-oriented business producing 100% eco-friendly handmade terracotta tiles under the name Maa Cottos Inc. Maa Cottos and Nikita International: A Legacy in Clay Maa Cottos Inc. serves as the parent company of ACIL, while Nikita International—another venture under the same umbrella—also manufactures 100% handmade terracotta tiles. Founded in 1982 as a family-run enterprise, Nikita International has grown into the largest handmade tile manufacturer not only in Bangladesh but across Southeast Asia. Over the past four decades, the company has built a reputation for high-quality structural clay products, including roof tiles, wall cladding tiles, and floor tiles. Their dedicated in-house research and development team continues to innovate, ensuring they remain relevant in both domestic and international markets. While Nikita International specialises in a broad range of traditional clay products, ACIL has taken a more modern approach, focusing on high-end machine-made terracotta tiles designed for contemporary architectural projects. Ali Ceramic’s Battle to Rise “Ali Ceramic was established in 2021, but its commercial production began in July 2024,” said Ali Askar. With a current daily output of 40,000 square feet of tiles and 170 employees, the company has already made a strong start. Its total investment stands at Tk 1.5 billion. However, Askar noted that despite this solid foundation, ACIL’s growth is being hampered by external challenges such as political instability and economic uncertainty. The July Uprising One such challenge emerged shortly after ACIL began full-scale production. Within a year, Bangladesh was shaken by the July Uprising, which brought government development projects to a halt. According to Askar, many of the contractors they had established relationships with were replaced in the wake of political upheaval, severing existing business ties. The re-tendering process for paused projects introduced further delays and added a new layer of unpredictability to ACIL’s business landscape. Production Challenges: Energy and Raw Materials In addition to political disruption, ACIL has faced ongoing operational difficulties. A key concern is the absence of a Titas gas connection, which has forced the company to rely on liquefied petroleum gas (LPG)—a costlier alternative that significantly raises production expenses. Despite these setbacks, ACIL has managed to maintain product quality. Clay is sourced from regions such as Gazipur and Sylhet, chosen for their reliable natural composition and consistency, ensuring each tile meets the company’s exacting standards. Handmade Tiles: Craft Holds the Crown While machine-made terracotta tiles remain common among Bangladeshi producers such as Mirpur Ceramic Works Ltd. and Khadim Ceramics Ltd., there is a noticeable shift in the global market. Foreign buyers are increasingly drawn to handmade tiles for their aesthetic charm and artisanal value. This growing demand reaffirmed Askar’s decision to launch ACIL as a complement to the handmade offerings already being exported by Maa Cottos Inc. and Nikita International. Reaching 22 Global Destinations Today, Askar proudly notes that handmade tiles produced under the group’s brands are exported to 22 countries—including Germany, France, Italy, Spain, and Japan. The appeal lies in the product’s eco-friendly, handcrafted nature, which resonates strongly with environmentally conscious consumers around the world. Why Imported Tiles Still Dominate the Market Despite this progress, the local ceramic industry continues to face stiff competition from imports. Around 20–25% of Bangladesh’s ceramic demand is still met by foreign tiles, mainly from China, Spain, Turkey, and Vietnam. This dependence stems from Bangladesh lagging nearly five years behind in design and innovation. Although the country has no shortage of skilled ceramic professionals, much of this talent remains underutilized due to a lack of investment in advanced machinery and modern design capabilities. Until the industry catches up in both creativity and technology, imported tiles will likely continue to dominate the high-end segment of the market. A
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Export Woes Overlooked in FY26 Budget Ceramic sector left in the cold
The interim government’s Tk 7.9 trillion budgets for FY2025-26 have drawn criticism for lacking bold measures to strengthen export-oriented sectors, including garments, leather, pharmaceuticals, and ceramics—key drivers of Bangladesh’s economy. Despite persistent demands from businesses, the budget offers no concrete plans to modernize ports, ensure stable gas and electricity supply, or reduce logistical hurdles that cripple competitiveness. The leather sector, struggling with compliance and environmental challenges, finds no support for factory upgrades, while pharmaceuticals—a growing export segment—receive no incentives for R&D or market expansion. Similarly, the ceramic industry, which relies on imported raw materials, sees no relief from high production costs. With private investment stagnant and unemployment high, industry leaders argue that the budget missed a crucial opportunity to implement structural reforms, widen the tax net, and boost global competitiveness—essential steps for sustaining export growth and economic stability. Youth Job Crisis, Poverty Fight Missing in Action The interim government’s first budget has failed to address the core grievances that sparked July 2024’s mass uprising — unemployment and inequality. Despite 20% graduate unemployment and 30% youth disengagement from work or education, the budget offers only token funds for self-employment schemes without structural solutions. Social safety nets saw marginal increases, while allocations for education and health have remained stagnant. With 40 million below the poverty line—and a World Bank warning of worsening poverty—the budget lacks comprehensive anti-poverty strategies. Economists describe it as a “stopgap budget” that maintains the status quo rather than addressing the employment crisis that fueled last year’s protests. The absence of bold job creation measures suggests continued economic discontent among the youth. Budget Targets Overly Ambitious: Economists Economists have raised concerns over Bangladesh’s proposed FY2025-26 budget, calling its revenue, growth, and inflation targets unrealistic given current economic challenges. While noting some positive measures like reduced VAT on LNG and lower advance taxes, they highlighted structural weaknesses in tax administration and insufficient focus on job creation as key risks. Revenue & Inflation Doubts The revenue collection goal was seen as unattainable without tackling tax evasion, while inflation projections were deemed too optimistic amid persistent price pressures. Reforms Missing Experts pointed to a lack of meaningful reforms in customs, logistics, and labor markets, with particular concern over stagnant education and healthcare spending despite their importance for long-term growth. Implementation Challenges While some trade facilitation efforts like the National Single Window were acknowledged, economists warned that bureaucratic inefficiencies and resistance to change continue to hinder progress on critical economic reforms. Little to No Relief for Ceramic Sector The ceramic sector received no significant fiscal relief in the recently passed national budget for FY2025–26, despite its growing contribution to import substitution, employment generation, and sustainable construction, according to stakeholders. The Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA) has expressed disappointment over the government’s failure to address longstanding demands, which could have reduced production costs and made locally produced tiles and sanitary ware more competitive against imports. The BCMEA had proposed that customs authorities allow up to 35% deduction during import-stage valuation for moisture, unusable chemical substances, and volatile components in imported raw materials such as China Clay (HS Code 2507.00.10) and Ball Clay (HS Code 2508.40.10). These clays, entirely import-dependent, naturally contain 30–35% wastage components, and further losses occur during processing—sometimes up to 40%. However, import duties are still calculated on 100% of the gross weight, significantly increasing costs for producers. The association also demanded the withdrawal of the 15% supplementary duty (SD) on locally produced tiles (HS Code 69.07) and the 10% SD on sanitary ware (HS Code 69.10). According to the BCMEA, these products are no longer considered luxury items but are integral building materials, widely used in both residential and commercial construction. They also play a vital role in promoting public health and environmental sustainability. “The government talks about affordable housing and sanitation for all, yet continues to impose unnecessary duties on locally made essential products,” said Moynul Islam, President, BCMEA, adding that, “If these unjustified duties are not withdrawn, local manufacturers will lose competitiveness, while consumers will continue to suffer from high prices amid inflation.” He also pointed out that the absence of incentives for value-added manufacturing contradicts the government’s broader goals of economic diversification and green growth. The sector, which heavily relies on imported raw materials, has already been hit hard by the appreciating US dollar and rising freight costs. The BCMEA reiterated that removing these fiscal burdens would not only lower production costs and market prices but also encourage further investment and expansion in domestic manufacturing, reducing dependence on imports and generating more employment. Economist Questions Budget’s Effectiveness Dr. M Masrur Reaz, Chairman of Policy Exchange Bangladesh, expressed disappointment that the proposed budget lacks clear roadmaps for structural reforms, employment generation, and investment stimulation. He pointed out the absence of bold measures to address the country’s core economic challenges. The economist described the budget’s revenue and growth targets as overly optimistic given the current political uncertainty and post-election economic climate. “Inflation may have eased slightly, but the government’s projections remain unrealistic without substantial investment and job creation,” Reaz stated. While not opposing the principle, Reaz questioned the timing of proposed salary increases for government employees, suggesting the measure may be premature given fiscal constraints. Reaz offered targeted recommendations for key sectors: Agri-business / Fast-Moving Consumer Goods (FMCG): Formalize informal trade channels and improve tax compliance. Telecommunications: Reduce tax burdens to accelerate digital inclusion. Tobacco: Maintain current tax structures to combat illicit trade while ensuring revenue stability. The economist acknowledged some positive steps including: Reduced VAT on LNG imports. Lower advance taxes on raw materials. Decreased land registration fees. However, he criticized: Increased VAT on yarn. Higher turnover taxes for loss-making businesses. Lack of initiatives for rural women’s employment. Dr. Reaz concluded that while containing some business-friendly elements, the budget ultimately fails to deliver transformative changes needed to address Bangladesh’s employment crisis and economic stagnation. The absence of comprehensive poverty reduction
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Grounded in Wellness: The Story Behind Svadha
Over the past decade, Bangladesh’s spa and salon culture has gone through a quiet but striking revolution. The once-flashy, first-service catered parlours have given way to curated wellness havens that prioritize experience over gimmicks. From Faux-Thai facades, a new design language is emerging. At the forefront of this transformation is Svadha, the country’s first salon to fully integrate Ayurveda into its core philosophy. But it’s not just their services that set them apart, it’s the atmosphere. Their aesthetic blends the royalty of Mughal architecture with the earthy soul of Marrakesh, creating a space that feels both grounded and luxurious. Svadha is a family-led vision brought to life by Rumjhum Fattah, her brother, Md Golam Rezwan, and sister-in-law, Behtarin Chowdhury Ridma. While the trio has long been a part of Bangladesh’s RMG sector, Svadha marks their first foray into the world of beauty and wellness, and they’re doing it on their terms. The name Svadha, derived from Sanskrit, beautifully translates to “self-care” and “self-love”—an ethos that defines everything the brand stands for. “At Svadha, we’re not here to sell beauty or grooming services,” says Rumjhum. “We’re here to create a space where people can slow down, tune in, and prioritize their well-being.” Svadha is located in the heart of Gulshan Avenue and comprises a total area of around 3300 square feet. The interior, designed by the creative minds at Studio R.A.R., is a visual and sensory ode to stillness, grounding, and mindful indulgence. “Svadha is a true embodiment of peace and tranquillity,” shares co-founder Behtarin Chowdhury Ridma. “From the lounge to the treatment rooms, we wanted every inch to feel like a retreat, where the stress of daily life simply melts away. To achieve that, we explored a palette of earthy tones and tactile, natural materials.” She pointed out that most salons in the city are built around speed and efficiency, often at the expense of comfort. “Everything is so fast-paced—walk in, get the service, walk out. There’s hardly ever a moment to truly unwind,” she reflected. At Svadha, the philosophy is deliberately different. The space is intentionally kept open and airy, avoiding unnecessary partitions or a heavy-handed layout. “We wanted to let the space breathe, just like our clients,” she added. There are no false ceilings or forced divisions; instead, the design embraces fluidity, allowing natural light and movement to flow freely. Catering to working women, Svadha brands itself as a wellness retreat. “Our clients come not just to look good, but to feel good. After long hours at work, they deserve to be unrushed, cared for, and truly pampered.” Drawing inspiration from Moroccan and Indian architectural traditions, the space features intricately carved wooden mirror frames, classic oil lamps, and a striking antique doorway that sets the tone from the moment you enter. A gentle water fountain hums in the background, further enhancing the atmosphere of calm. “We wanted to infuse the space with elements of nature and its calming rhythms,” shared Rumjhum. “The water fountain, placed thoughtfully within the layout, is a quiet homage to that intention, a gentle nod to movement and serenity. Throughout the space, you will find indoor plants too” Lighting, too, was carefully curated to complement this ambiance. There’s a deliberate avoidance of harsh, bright lights. Most areas are bathed in soft, ambient illumination, dimmed and mellow to encourage relaxation. However, in zones like the makeup and hair stations, where precision is key, the lighting is thoughtfully intensified to ensure clarity without disrupting the overall calm. One of the standout features of the salon is the textured wall next to the reception where the metal brand name is hung. There is also a graffiti wall, commissioned by a Fine Art student of Dhaka University where Mughal-themed flowers are painted. Every piece of furniture in the salon has been custom-crafted in-house. Each zone has been thoughtfully planned to serve its specific purpose, whether it’s a quiet waiting lounge, a private treatment room, or a styling station. Every detail, down to the custom-built furniture, typography on the walls, and curated lighting reflects Svadha’s vision of a wellness destination that feels both intimate and elegant. Written by Kaniz F Supriya
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Timber Tales sparks a dialogue in wood and ink
The ongoing exhibition titled Timber Tales at La Galerie, Alliance Française de Dhaka invites audiences to experience the collaborative journey of three emerging artists who explore memory, process, and material through the art of woodcut printmaking. Within the exhibition, a faint, earthy scent of wood and ink hangs in the air. Walking into the gallery, some might find themselves pausing longer than expected, tracing the grain of the wood as if searching for their own stories between the lines. The exhibition features three artists—Rakib Alam Shanto, Shakil Mridha, and Abu Al Naeem—who express individuality through their woodcut prints. This contemplative exhibition is running from June 17 to June 25, 2025. Curated by the artists themselves, the exhibition reimagines the possibilities of woodcuts as a medium. Here, the tactile intimacy of carved timber meets the visual language of reflection, nostalgia, and search. As you wander through the space, individual voices emerge. Shakil Mridha’s work, with its minimalistic yet profound geometric forms, feels like a contemporary ode to Bangladeshi folk art, skillfully abstracting familiar motifs. Rakib Alam Shanto’s large-scale black-and-white pieces command attention, a powerful revival of a tradition, showcasing his remarkable focus. Abu Al Naeem’s pieces, often abstract, subtly reveal hidden figures, reflecting his continuous exploration of materials and techniques. Each artist, in their unique way, elevates woodcut beyond mere reproduction, transforming it into a medium of profound personal expression. And through that expression, each of their work reflects the heart of the creative process, where stories are carved into existence. At the heart of Timber Tales is a tribute to beginnings, to the mentor who shaped them, and to the space where it all began. Their acknowledgement of Professor Md. Anisuzzaman, whose generous guidance helped steer their vision, reveals the deeply collaborative ethos of the show. “This is where it all began—for the three of us,” reads a line from the exhibition note, underscoring the intimate bond between craft, community, and coming-of-age. In an era of digital immediacy, there’s something revolutionary about the deliberate slowness of woodcuts. And the three artists have breathed new life into the ancient art of woodcut. More than just a technique, it’s a dialogue between human touch and natural materials. Each frame holds a deeper narrative of tireless dedication—the careful selection of wood, the precise cuts, the methodical inking, and the final, expectant press. Open to all and continuing until 25 June 2025, Timber Tales will leave visitors with more than just images on paper. In a city rushing to reinvent itself, the exhibition feels like a pause, a reminder of our roots with a sense of belonging—to the artists, to the materials, and to the timeless, meditative act of making. Written by Samira Ahsan
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KARMASANGSTHAN BANK: Vision for Inclusive Growth
Karmasangsthan Bank is a unique state-owned social bank in Bangladesh, established in 1998 to turn unemployed youth into entrepreneurs. Its mission is to extend financial services to underserved communities and foster sustainable businesses. Literally translated as the “Employment Bank,” it empowers aspiring entrepreneurs to transform their ideas into sustainable ventures. Born from a national vision for inclusive economic development, the bank has dedicated itself to bridging the financial gap for underserved segments of society, particularly in rural areas. This focus on inclusive growth sets it apart from conventional commercial banks and makes it an essential instrument for national development. Under a government mandate and with initial capital of Tk 300 crore, Karmasangsthan Bank was created to tackle unemployment by funding small enterprises. Over time, government backing has expanded its loan pool to around Tk 4,500 crore, amplifying its reach. Its core purpose remains nurturing grassroots entrepreneurship and uplifting marginalised groups. Karmasangsthan Bank tailors its products to the needs of unemployed youth and small-scale entrepreneurs. Its flagship offerings include: Low-interest and interest-free loans for start-up ventures, microcredit schemes designed for first-time borrowers and special financing packages for persons with disabilities. The bank’s board unites professionals from financial and administrative backgrounds, ensuring strategic oversight and mission alignment. In November 2024, Dr AFM Matiur Rahman took the helm as the 14th chairman, while Arun Kumar Chowdhury guides daily operations as Managing Director. Their stewardship has driven both stability and innovation. With over 285 branches and 1,800 employees spanning every district and most upazilas, Karmasangsthan Bank brings its services to urban centres and remote villages alike. This footprint underscores its commitment to rural financial inclusion and fuels broader socio-economic development across Bangladesh. Beyond financing, Karmasangsthan Bank serves as a catalyst for community uplift. Its operations blend government policy, entrepreneurial mentoring, and localised development initiatives—proving that a bank can be a powerful tool for social transformation. To reach the unbanked, the bank is rolling out mobile banking apps, digital payment gateways, and online portals. These technologies bridge geographic divides, making services more accessible to rural and marginalised populations. Through initiatives like this, Karmasangsthan Bank continues to fulfil its mission of fostering a balanced economic structure by converting the population into productive manpower and reducing unemployment. Currently, Bangladeshi citizens aged 18 to 50 are eligible for loans up to Tk 5 lakh without collateral and up to Tk 75 lakh with collateral. Thanks to its outstanding performance across key indicators, Karmasangsthan Bank ranked first among state-owned specialised banks for the last two consecutive fiscal years. The government approved the construction of a 25-storey multi-purpose building atop a four-storey basement at a cost of Tk 260 crore. This project will be built on 37 decimals of land formerly belonging to the Times-Bangla Trust in Motijheel, Dhaka, now registered under the bank’s name. Since Karmasangsthan Bank operates under a similar model as Grameen Bank, the government should consider granting it full tax exemption. This measure would enable the bank to lower its interest rates further, providing greater support to unemployed and poor borrowers. Additionally, the nation would benefit from more affordable products, fostering a competitive market environment. Bank’s Performance Karmasangsthan Bank has lent Tk 18,000 crore to over 1.2 million youth, indirectly benefiting some 4.2 million people. Its recovery rate is about 96%. Currently, approximately 2,25,000 entrepreneurs—30% of whom are new each year and 40% of whom are women—tap into its schemes, with a total of about Tk 4,300 crore in outstanding loans. In the last fiscal year (July 2024–June 2025), Tk 2,838 crore was disbursed in self-employment loans to 1,25,000 entrepreneurs. Tracking job creation and enterprise growth provides clear evidence of its social footprint. The breakdown includes: Cattle fattening: Tk 1,595 crore (56.2%) to 76,744 individuals. Dairy farms: Tk 525.36 crore (18.5%) to 24,712 individuals. Fisheries: Tk 126.75 crore (4.5%) to 5,832 individuals. Poultry farms: Tk 15.43 crore (0.6%) to 745 individuals. Agro-based industries and nurseries: Tk 11.28 crore (0.4%) to 530 individuals. Commercial sector: Tk 160.35 crore (5.65%) to 7,309 individuals. Service sector: Tk 76 crore (2.65%) to 3,669 individuals. Small and cottage industries: Tk 53.84 crore (2%) to 2,531 individuals. Other sectors: Tk 275 crore (9.5%) to 2,100 individuals. During the same period, the bank earned Tk 408.37 crore in revenue against operational expenses of Tk 270.33 crore. Its pre-tax profit stood at Tk 138.04 crore, and it paid Tk 19 crore in advance corporate income tax. Customer Success Stories Rezaul Haque, a 45-year-old resident of Sundarpur in Paba Upazila (Rajshahi), transformed his life through commercial fish farming. With an initial loan of Tk 50,000 from the Rajshahi branch of Karmasangsthan Bank, Rezaul received subsequent training from the Department of Fisheries and the Department of Youth Development. Starting modestly, his venture expanded over 95 bighas of water bodies. Today, his investment has soared past Tk 1 crore, and he earns an annual income of about Tk 10 lakh. His journey not only provided him with financial stability but also inspired many local youths to explore similar opportunities, contributing to the region’s growing protein demand. Broadening Horizons in Aquaculture Another remarkable example is Borhan Uddin from Bagsara village. After securing a loan from the bank, Borhan invested Tk 75 lakh in a fish-farming business. With clear prospects for future expansion, his investment is expected to hit Tk 1 crore in the near future. His success story is a testament to how specialised loan products, combined with financial guidance, can spur rapid growth and foster entrepreneurship at the grassroots level. Retail and Small Business Beyond aquaculture, Karmasangsthan Bank has also empowered entrepreneurs in the retail and small-business sectors. For instance, Shahajahan Ali, owner of a local enterprise in Nawhata Municipality Market, has been utilising the bank’s credit support for over a decade to sustain and grow his business. Similarly, Mokbul Hossain, who runs a shoe store in the same market, successfully expanded his operations with consistent financial backing. Beef Fattening and Dairy To promote food security and create
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CERAMIC EXPO BANGLADESH 2025 EXPLORE THE WORLD OF CERAMICS
Ceramic Expo Bangladesh 2025 is fast approaching, promising to be the largest and most prestigious exhibition in the country. The event will bring together a wide range of manufacturers, innovators, professionals, and enthusiasts from both the local and global ceramic industries. The Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA) will organize the event at the International Convention City Bashundhara (ICCB). This four-day event is more than just an expo – it’s a celebration of innovation, networking, and excellence in ceramics. Key Highlights of Ceramic Expo Bangladesh 2025 B2B & B2C Networking Opportunities Business-to-business (B2B) and business-to-consumer (B2C) sessions will allow exhibitors to showcase new products, technologies, and innovations to their target audiences. These sessions will help businesses explore opportunities for strategic collaboration and expansion. Awards & Recognitions An exciting feature of the event is honouring exhibitors with the Best Pavilion and Stall Design Awards. Exhibitors will design their pavilions and stalls based on their brand identity or how they wish to portray it to their target audience. Winners will be selected by a distinguished jury. A Lifetime Achievement Award has been introduced to honour an individual who has made a significant contribution to the development and growth of Bangladesh’s ceramic industry. Knowledge-Driven Seminars & Conferences The 2025 edition of the expo will host five insightful seminars and panel discussions. These sessions will feature prominent industry experts, architects, engineers, and thought leaders. Topics will focus on the future of ceramics, technological advancements, sustainability, and design innovations. Job Fair For job seekers, students, and professionals, Ceramic Expo Bangladesh 2025 offers a golden opportunity to connect with leading ceramic companies. Visitors will be able to submit their résumés to explore job opportunities with prominent ceramic manufacturers in Bangladesh. Visitor Engagement & Raffle Draw BCMEA will distribute exciting gifts and organise a raffle draw to appreciate and encourage maximum visitor participation. These activities aim to celebrate the continued support for the industry’s growth. Ceramic Expo Bangladesh 2025 proudly invites all to explore, exhibit, network, and learn through the event. It is a gateway to the future of ceramics and a grand opportunity for the ceramic industry to grow further. Written by Preety Dey
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A Legacy of ABC Group Trust, Tenacity and Timeless Vision
In a business landscape where many joint ventures of the past century faltered under fractured trust and unchecked ambition, ABC Group shines as a beacon of integrity, resilience, and generational continuity. For over five decades, the organisation has not only transformed skylines but also redefined the very essence of partnership—proving that enduring success is built not solely on ambition, but on unwavering principles, a shared vision, and an unshakable commitment to people both within and beyond the company. “Partnerships rarely fail because of market forces,” reflects Subhash Chandra Ghosh, Chairman of ABC Group. “They collapse when trust erodes—when dishonesty, greed, or envy take root. Our survival has been anchored in three simple values: transparency in every transaction, fairness in every decision, and respect in every relationship.” This philosophy has guided ABC Group through the passing of its five founding partners, enabling a seamless transition of leadership to the next generation while preserving the spirit of its origins. Today, the group stands as a diversified conglomerate with four core divisions: ABC Limited (Construction), ABC Real Estate Limited (Property Development), ABC BPL (Ready-Mix Concrete Manufacturing & Supply), and the newly launched ABC FL (Facility Management Services). Each division plays a pivotal role in Bangladesh’s infrastructural and economic growth. Beyond construction and real estate, the group’s influence extends into the financial sector. The directors of ABC have been prominent founding shareholders of Mutual Trust Bank Limited (MTBL), one of Bangladesh’s most successful and trusted private banks. Rashed A. Chowdhury, the son of ABC’s founding chairman, Saifuddin Ahmed Chowdhury, now serves as Chairman of MTBL, further cementing the ABC Family’s legacy in nation-building across industries. The Genesis: Building Dreams from the Ground Up The story of ABC Group is intertwined with the birth of a nation. In 1972, in the stirring aftermath of Bangladesh’s independence, a bold vision took shape. Amirul Islam, his brother Nazrul Islam, and Saifuddin Ahmed Chowdhury—along with two associates—laid the cornerstone of Associated Builders Corporation (ABC) Limited. Soon thereafter, civil engineer Subhash Chandra Ghosh and architect Mostaqur Rahman joined the venture, forming a partnership that would one day redefine the country’s urban fabric. In those early days, ABC was not an empire—it was a dream defined by determination. With no heavy machinery, limited skilled labour, and scarce capital, the founders relied on resilience, strategic alliances, and sheer perseverance. Subhash Chandra Ghosh, then a young engineer, had begun his career at Yakub Limited earning a modest salary of 350 taka. When the company’s West Pakistani owner fled post-independence, Subhash and a colleague assumed leadership, keeping the operations afloat. It was during those turbulent times that fate brought him together with Amirul Islam—a meeting that would sow the seeds of an enduring legacy. Mr. Ghosh recalls with pride that his stake in the company was secured not through capital but through the strength of a handshake, a testament to an era when a man’s word was his bond. Forging a Future: The Rise of an Empire ABC’s first major breakthrough came with a two-crore-taka contract for the Bangladesh Machine Tools Factory, marking the beginning of its ascent. Landmark projects soon followed—Ashuganj Fertilizer Factory, Khulna Thermal Power Plant, and the Gorai Bridge—all setting new benchmarks in engineering excellence. Over the decades, ABC Group’s portfolio expanded to include national icons such as the Grameenphone Headquarters, North South University, BRAC University’s New Campus, and the Third Terminal of Hazrat Shahjalal International Airport. Currently, ABC Limited is building the prestigious Aga Khan Academy campus at Basundhara. By the late 1980s, ABC’s vision expanded beyond construction into real estate. In 1988, ABC Real Estate Limited (ABC REL) was born—a bold move at a time when the concept of apartment living was still in its infancy in Dhaka. From Concrete Foundations to Living Communities Challenges abounded: land scarcity, public skepticism toward apartment living, and the absence of clear registration laws. Yet, through meticulous planning, superior design, and uncompromising transparency, ABC Real Estate earned trust—one project at a time. The company has always approached the market with caution to avoid overambitious trading, a common pitfall in the real estate industry. Today, it has delivered more than 1,880 apartments across 70 projects in prime locations such as Uttara, Banani, Dhanmondi, Gulshan, Baridhara, and Chittagong. A crowning achievement is The Oasis at Ispahani Colony, an international-standard gated community in Moghbazar that spans 14.5 bighas. Completing 457 units within 70 months—despite various crises induced by the pandemic—is a true testament to ABC Real Estate’s planning and resilience. A New Vision: Affordable Excellence Beyond Dhaka Under the leadership of Srabanti Datta and Shougata Ghosh, ABC Real Estate is shifting its focus toward large-scale residential projects in mid-cost areas of Dhaka and its suburban localities. Their vision is clear: to provide quality housing with modern amenities accessible to the upper-middle class at reasonable prices. “Dhaka’s land prices have made premium housing unaffordable for many,” explains Srabanti Datta. “By developing well-planned communities in emerging zones, we can offer spacious living, green spaces, and modern facilities—without the exorbitant costs of the city center. With The Oasis, we are now confident that ABC has the best set of pragmatic ideas, skilled people, and strategic planning tools to successfully deliver massive projects beyond mere flashy brochures.” Upcoming projects like The Orchard exemplify this strategy, combining affordability with international standards. Additionally, the group is exploring expansion to Narayanganj, ensuring sustainable urban growth beyond the capital’s high value yet densely populated areas. Diversification & Innovation: The ABC Ecosystem Beyond construction and real estate, ABC Group has strategically diversified into ready-mix concrete (ABC BPL) and facility management (ABC FL), ensuring control over quality and service delivery across the board. ABC BPL is one of the country’s leading suppliers of ready-mix concrete, known for its precision, durability, and efficiency in high-rise constructions. ABC FL—the newly launched division—provides high-quality facility management services in Bangladesh, offering maintenance, security, and operational excellence for both residential and commercial properties. The Heart Behind the Helm: A Symphony
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You Actually Want to Hang Out in! Brutown’s Got a Funky New Friend: Say Hello to Nervosa.
For those who enjoy café culture, a delightful spot has opened its doors to Dhaka’s vibrant crowd. Nervosa is a cafe located on Siddheswari Road, Dhaka, at the edge of a bustling neighbourhood—just above Brutown, which has long been a favorite in the heart of Bailey Road. Why Nervosa The name, “Nervosa,” is a deliberate nod to the beloved sitcom Frasier, where a fictional coffee shop of the same name served as a backdrop for the characters’ daily lives. Sabeel Rahman, CEO and Proprietor of BruTown and Nervosa, explains his choice with a playful intrigue: “The question of ‘Why Nervosa?’ is what makes it captivating. It draws attention, it’s a memorable name.” Consider Nervosa as the upscale, fancy, artistic neighbor of the popular cafe, BruTown, finding its niche in the community. Behind the Scenes Rehnuma Tasnim Sheefa, the principal architect of Parti.studio elaborates on the design philosophy: “Every design develops from a concept or a vision and if for a restaurant or a cafe, the branding has its influence as well. For Nervosa, that concept was built on strong character and a vibrant color palette, designed to draw a younger crowd into the cafe, as envisioned by the owner. When working in a public realm like cafes, as an architect I also had to focus on the psychological impact a person would have with the colors and the characters.” The color palette evolved gradually. Pale Orange took precedence, aligning with the theme initially, with striking illustrations bringing life to the walls. To make the illustrations stand out, a monochrome backdrop was introduced for the floors, ceilings, and other walls, allowing the boldly patterned and colored furniture to shine truly. The exposed brick on some of the walls adds a touch of urban grit, while the wooden flooring brings warmth and texture; keeping them aligned with the basic pale orange color. The cafe culture in Dhaka thrives on connection. Comfortable seating arrangements encourage heartfelt conversations, from an upcycled plush couch perfect for intimate gatherings to communal tables fostering spontaneous interactions. Nervosa goes a step further with cozy bookshelves stocked with comics and novels, perfect for anyone who wants to settle in with a good read. Instagrammable Spots Several strategically placed elements aim to create visually captivating ‘Instagrammable’ moments. The journey begins at the entry staircase, where a whimsical illustration introduces the cafe’s personality. Upon entering, a prominent neon light sign immediately catches the eye. Inside, a one-of-a-kind waffle mirror greets you at the entrance for your mirror selfies with your friends. Track lights are incorporated here to highlight specific areas, making them ideal for photos. “You will also find the neon lights in different spots around the cafe”, shares Architect Sheefa. The use of neon lights is an interior design trend in restaurants targeting younger crowds, particularly Gen Z. They create a visually appealing and Instagram-worthy atmosphere, making restaurants more attractive to social media-conscious customers, to create a unique and memorable visual experience. illustrations that speak to you To add character to the interiors, the beams and walls are filled with vibrant illustrations. In the beam above the counter, the illustrated characters resemble the target audience of the cafe, and how they interact and behave. Describing the artworks, Mashqurur Sabri, the artist, shares, “Nervosa walls are a burst of young energy and Dhaka madness — messy, loud, and full of heart. The hand-drawn, sketchy art style mixes raw lines with pops of bold, chaotic color — think warm reds, electric yellows, moody teals — capturing the city’s wild rhythm. From buzzing rickshaws to rooftop chill scenes, it’s the city on caffeine — vibrant, warm, and wide awake.” “When I think of Nervosa as perceived by the public, I wish it to be known as the most happening place in Siddeshwari,” says the owner, Sabeel Rahman. The vibrant interior, the playful name, and the strategic use of social media-friendly elements all point to a well-thought-out strategy. Nervosa isn’t just serving coffee; it’s serving an experience. And if the initial buzz is anything to go by, it’s an experience that Dhaka’s café-goers are eager to embrace. Written by Samira Ahsan
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Ceramic Forum sets stage for stronger Bangladesh-China collaboration
With an emphasis on quality enhancement, efficiency improvement, and deeper cross-border collaboration, the Asian Ceramics Technology 50 Forum – Dhaka commenced on Saturday, drawing together leading figures from Bangladesh and China’s ceramics industries. Held at the Eden Grand Ballroom of Hotel Amari Dhaka, the forum was jointly organised by the Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA) and Foshan Uniceramics Expo, under the theme: “Product Quality & Production Efficiency Enhancement and Investment Opportunities in Bangladesh – Win-Win Cooperation.” The day-long event served as a platform for industry leaders, technical experts, and stakeholders to explore strategies for improving production standards, reducing costs, optimizing performance, and boosting investment in Bangladesh’s ceramics sector. Participants from both countries stressed the urgency of embracing technological innovation and forging stronger partnerships to sustain growth and remain competitive in the evolving global market. Delivering the welcome address at the opening session, Mr. Irfan Uddin, General Secretary of BCMEA, welcomed the international delegates and highlighted the significance of events like this in strengthening industry ties between Bangladesh and China. “Together, let us explore new ideas, connect industries, and work toward a more vibrant future for ceramics in Asia,” he said. Mr. Irfan also acknowledged the contributions of the Chinese delegation, noting, “China’s technological advancements and global leadership in ceramics have long inspired us. Their participation here today reflects a mutual commitment to knowledge-sharing, sustainable growth, and regional cooperation.” Delivering his keynote address as chief guest, Mr. Md. Mamunur Rashid FCMA, Acting President of BCMEA and Additional Managing Director of X Ceramic Group, echoed similar sentiments. He underscored how the presence of Chinese industry leaders underscores a strong bond between the two industries and paves the way for joint ventures, technology transfer, and knowledge exchange. “Forums like this serve as a powerful platform for dialogue, innovation, and mutual growth,” he said, further highlighting Bangladesh’s investment opportunities and the government’s supportive policies and incentives for investors amid the country’s evolving socio-economic landscape. The forum’s technical sessions reflected its ambitious agenda. Technical Session 1: Product Quality & Production Efficiency Enhancement The first technical session focused on Product Quality and Production Efficiency Enhancement and was chaired by Mr. Mohd Ziaul Hoque Zico, Director of BCMEA and Deputy Managing Director & CEO of Hua Thai Ceramics Industries Ltd. Engr. Sadat H. Talukder, a consultant in the ceramic sector, and Mr. Luo Fei, a ceramic equipment technology expert from Foshan Uniceramics Development Co. Ltd., served as resource persons. Mr. Saidur Rahman Khan, Director of Operations at Akij Ceramics Ltd., and Ms. Yang Shuilan, General Manager of Foshan Lang Kun Electromechanical Equipment Co. Ltd., contributed as discussants. The session concluded with an engaging floor discussion. Technical Session 2: Cost Reduction, Efficiency Improvement & Optimization Mechanisms The second session, which explored two key topics—(i) Cost Reduction and Efficiency Improvement and (ii) Optimization Mechanisms for Tile Performance—was chaired by Mr. Mahin Bin Mazher, Advisor to BCMEA and Managing Director of X Ceramic Group. For Topic (i), Mr. Mohammad Bayazed Bashar, Chief Business Officer of DBL Ceramics Ltd., presented strategies for cost reduction and enhanced operational efficiency. For Topic (ii), Mr. Liu Zhanjie, a ceramic process and formulation technology expert from Foshan Uniceramics Development Co. Ltd., delivered technical insights on optimizing tile performance. The session’s discussants included Mr. A.K.M. Ziaul Islam, Chief Operating Officer of Meghna Ceramic Industries Ltd., and Mr. Sun Bowen, Sales Manager of Zibo Huayan Industrial Ceramics Co. Ltd.. Like the first, this session also concluded with a floor discussion. Technical Session 3: Investment Opportunities in Bangladesh The final session focused on Investment Opportunities in Bangladesh under the Changed Socio-Economic Scenario. It was chaired by Dr. Md. Anwar Ullah FCMA, former Secretary to the Government of Bangladesh. Mr. Md. Mominul Haque, Vice President of LankaBangla Investments PLC, served as the resource person for this session. Mr. Muhammad Nazrul Islam, Managing Director and CEO of Sandhani Life Finance Ltd., Mr. Li Xinliang, President of Ceramic Town Weekly and General Manager of Foshan Uniceramics Development Co. Ltd., and Ms. Joanna Sun, General Manager (Asia Market) of Tangshan Hexiang Intelligent Technology Co. Ltd., joined as discussants. Throughout the day, speakers from leading Bangladeshi companies such as Akij Ceramics, DBL Ceramics, Meghna Ceramic Industries, and LankaBangla Investments underscored the importance of strategic collaboration with China, especially in areas like technology integration, production management, and investment facilitation. The event concluded with a vote of thanks from Mr. Abdul Hakim Sumon, Senior Vice President of BCMEA and Managing Director of Excellent Ceramic Industries Ltd., who expressed gratitude to all guests, speakers, and participants for their contributions. He remarked that the forum marked a significant milestone in advancing regional partnerships and securing a sustainable future for Bangladesh’s ceramics industry. Participants wrapped up the day with a networking session over evening refreshments, celebrating the successful exchange of ideas and reaffirming commitments to long-term collaboration.
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CERAMICS CHINA 2025 Concludes with Record Global Participation
CERAMICS CHINA 2025, the world’s leading trade fair for ceramic equipment and materials, successfully concluded on June 21st in Guangzhou, marking an exceptional edition characterized by unprecedented international engagement and vibrant business exchange. The event solidified its position as the indispensable global marketplace for innovation, collaboration and networking across the entire ceramics value chain. This year’s exhibition achieved remarkable scale and reach, attracting 786 outstanding exhibitors from 21 countries and regions, including mainland China, Belgium, Germany, France, Korea, Malaysia, Japan, Slovenia, Turkey, Spain, Italy, India , Indonesia, UK, Vietnam, Bangladesh, Russia, USA, Brazil, Taiwan China and Hong Kong China. The extensive participation validated the exhibition as a truly global microcosm showcasing advanced products, cutting-edge technologies and innovative solutions spanning intelligent production equipment, eco-friendly materials, digital manufacturing processes and end-to-end service system. The exhibition highlighted three defining trends within the ceramic industry development: the comprehensive AI-driven intelligence integrated throughout production workflows to enhance efficiency and strengthen quality control; the sprouting compact equipment designed for eco-friendly operations, cost reduction, and flexible manufacturing; the cross-sector diversified expansion dominated by traditional equipment manufacturers to cultivate sustainable market growth in different sectors. The evolving products and technologies showcased on-site also gave visitors insights into the latest industry trends and market dynamics, informing their purchasing decisions and strategic planning. From June 18-21, CERAMICS CHINA 2025 welcomed totally 80,240 visits of industry professionals from 94 countries and regions in the 4-day exhibition. Key visitor delegations this year represented major manufacturing hubs, industry associations, leading ceramic manufacturers and import/export giants. The expansive participation this year signified a significant leap in the global influence and appeal of the event. Building on the record participation and vibrant exchange of CERAMICS CHINA 2025, the highly anticipated next edition is now scheduled for June 24-27, 2026, in Guangzhou, where the global ceramics community will reconvene to build on this momentum and drive further industry advancement.
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Ceramica Alberdi kickstarts a new ceramic manufacturing era with SACMI Continua+
Winner of ‘best new ceramic plant in South America’ at the Tecna Awards 2024, the company has introduced two new Continua+ lines to manufacture ultra-high quality products: an ambitious project that aims to build a smart, sustainable ceramics factory, with SACMI providing all the key production technologies Ceramica Alberdi has selected SACMI Continua+, installing – for the first time in South America – two parallel lines for the manufacture of ultra-high-quality slabs and tiles. Founded in 1907 and based in José C. Paz near Buenos Aires, the company has always been at the forefront of innovation: now, with this project, it’s taken another huge technological leap forward. The supplied plant, the first of its kind in South America, consists of two Continua+ presses (PCR 2120 model) operating in parallel to feed a single drying, glazing and firing line. Alberdi has taken a bold step here and has, with this new plant, targeted a specific segment: thin tiles and slabs (6 mm thick) that combine outstanding quality, practicality and aesthetics with low environmental impact, also significantly reducing the transportation costs of the finished product. A smart, high-quality ceramic plant that requires less energy, reduces handling/storage costs and streamlines installation: to build it, the only realistic choice was the PCR 2120, the compact ‘smart’ version of the SACMI Continua+ that delivers outstanding flexibility and productivity with the market’s most popular slab sizes (1200×2400, 600×1200 and related sub-sizes). In addition to the two Continua+ presses, SACMI supplied all the other key plant technologies, from body preparation – a new ATM140 spray dryer and a MMC 120 modular mill – to the new 5-tier dryer. Completing the order, the 300-meter-long FMA Maestro kiln offers a modulated air-gas solution with cutting-edge features that reduce consumption and emissions and retrieve heat to maximize efficiency. In this configuration – and thanks to the dual Continua+ line – Ceramica Alberdi has boosted plant productivity to over 25,000 square meters per day on all sizes, with a sharp focus on manufacturing extremely high-quality products to keep ahead of market trends. This outstanding inventiveness saw the company awarded the prestigious Tecna Award at the Tecna trade fair for ‘best new ceramic plant in South America’. The award acknowledges the company’s recent investments in technology that have allowed it to excel in terms of product and process innovation, strengthening its leadership on the Argentinian floor and wall tile market.
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Dissonance Of Debris
From May 17th to 31st, the solo painting exhibition titled “Debris” by Kazi Salahuddin Ahmed adorned the walls of La Galerie, Alliance Française de Dhaka, Dhanmondi. The two-week-long, thought-provoking exhibition featured nearly 30 works on board paper, providing spectators with a glimpse into the artist’s most recent studies. Remembering is a kind of rebellion in Kazi Salahuddin Ahmed’s universe. His solo exhibition, “Debris,” was an uncompromising documentation of human vulnerability. The artist’s recollections of Bangladesh’s 1971 Liberation War seep into modern tragedies—Gaza’s annihilation, the Rohingya exodus, and Kashmir’s stifled cries. The paintings didn’t merely show ruins; they also resurrected spirits. Ahmed’s life had several eras of turmoil. Born within a world transformed by partition and war, his early work in the 1980s was abstract, but the twenty-first century tightened his emphasis. The song “Debris” captures this progression. Each piece is a palimpsest, with layers of pigment representing the strata of history, where erasure and evidence fight silently. Ahmed’s use of board paper as canvas makes a statement in and of itself. Board paper repels, as opposed to ordinary canvas, which absorbs, forcing the artist to handle surface tension. The resulting sculptures have a temporary quality, as if they would disintegrate like the makeshift shelters in Cox’s Bazar’s refugee camps. Though anchored in Bangladeshi stories, “Debris” speaks to a lexicon of global migration. The exhibition’s centerpiece, “Babel Fragment” (2024), depicts the mythological tower as a jagged silhouette against a sulfurous hue. Its shattered planes evoke both bombed-out Aleppo and the decaying tenements of Old Dhaka. Ahmed, who has flown from Paris to Islamabad, appears to imply that rubbish knows no boundaries. In “Eclipse of Return” (2024), a skeletal stairway rises into the emptiness, its steps fractured like vertebrae. Nearby, “Archive of Dust” displays a child’s sneaker half-buried in a thick texture that mimics charred dirt “The utter erasure of Gaza, which was once full of life; the ongoing miseries of people in Kashmir; or the hopelessness faced by displaced Rohingyas attempting to make a living in camps in Chattogram—all of this jostles the mind as one attempts to ponder the future of the human race. Furthermore, it is difficult to leave behind the legacy of Bangladesh’s repeated failures to shape a future. The people’s desire for political stability has always been a never-fulfilled dream in our country. The demise of the authoritarian dictatorship has undoubtedly allowed everyone to focus on a future beyond the current system, but it appears that things are still breaking apart, leaving us with only emotional rubble,” observed famous art critic Mustafa Zaman. The intimacy of “Debris” sets it apart from other forms of protest art. In “Letters Unsent,” bits of Urdu and Bangla letters emerge behind layers of gray, like voices muted by time. The piece is similar to Ahmed’s 2018 series on refugee diaries, but the language is virtually illegible—a metaphor for history’s selective memories. Written By Shahbaz Nahian
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Where Nature Teaches: The Story of Aga Khan Academy
In Dhaka’s Bashundhara Residential Area, the Aga Khan Academy immediately catches your eye. Its warm brick walls, softened by greenery and a sparkling water channel, glow in the morning light. The building feels like a historical monument—orderly courtyards, intricate brickwork—yet the lively chatter of students reminds you this is a school—a place where learning blends seamlessly with nature’s rhythms. Bangladesh’s heritage that make it truly remarkable. Here, architecture becomes a canvas, interiors breathe with narrative, and every art installation stands as a tribute to the nation’s soul. Spanning in 17 acres, the award-winning Aga Khan Academy in Dhaka was developed through a collaboration between SHATOTTO Architecture for Green Living and Feilden Clegg Bradley Studios. The design draws inspiration from the region’s ancient Buddhist Mahaviharas, incorporating their architecture and philosophy into the campus. A clay model was used to visualise the design, helping stakeholders understand the campus’s spatial organisation before construction. Covering 74,150 square metres, this is Shatotto’s largest school project to date. The campus provides a green sanctuary within Dhaka’s urban environment. This academy represents a significant investment by the Aga Khan Development Network in Bangladesh’s future. As the fourth institution in a planned network of 18 Aga Khan Academies across Africa, South and Central Asia, and the Middle East, the Dhaka campus connects students to a wider academic and cultural community. Other campuses are located in Mombasa, Hyderabad, and Maputo, forming a global network focused on pluralism, leadership, and excellence. To support education from nursery to diploma level, Aga Khan Education Services required a permanent campus. This presented a challenge in a dense city like Dhaka. The project is designed to be scalable and sustainable, planned in seven construction phases. Since its first phase launched in September 2022, the academy has offered an integrated environment that connects nature with education, providing a calm setting within Bashundhara’s urban area. The Dhaka campus currently enrolls 750 students, with plans for expansion to 1,200. The masterplan includes residential facilities designed to accommodate students and staff from across Bangladesh and other countries. This lays the foundation for a diverse and inclusive learning environment upon full implementation. The vision for this project was led by Architect Rafiq Azam of Shatotto Architecture for Green Living, who incorporated Bangladesh’s heritage into the design. He conceptualized it as an “archaeological site, like our ancient monasteries.” Co-lead Architect Peter Clegg of Feilden Clegg Bradley Studios contributed global standards and technical precision. A central amphitheatre serves as a space for performances and gatherings. The adjacent Maidan, a large open playground, accommodates student activities, serving recreational and social functions. Brick buildings surround these shared areas on a planted base, offering unobstructed views of the Maidan from all directions. The Maidan functions as the campus’s central point, reflecting the spirit of ancient Buddhist Mahaviharas. These elements collectively support an environment where the physical space contributes to the educational process. “The school itself teaches,” says Rafiq Azam, lead architect of the Aga Khan Academy. “Students learn from books inside the classroom, but when they step outside, they begin to notice surroundings on their own — how water flows, how flowers bloom, how the sun moves across the sky, and how the breeze blows from a certain direction.” He adds, “This kind of learning happens naturally, guided by the environment rather than just by the teacher. The process encourages students to learn independently, beyond what is taught in the classroom.” Rafiq Azam emphasised the local context influencing the design, noting the significance of greenery, water, and rain in Bangladesh’s fertile landscape. This sensitivity is integrated into the campus layout, where natural elements are part of daily student life. The academy’s design heavily features brick, chosen for both its practical and aesthetic qualities, consistent with Bangladesh’s architectural history. Each brick is carefully positioned. According to Feilden Clegg Bradley Studios, brick was selected to revive local craftsmanship and to contrast with the render and concrete common in surrounding new buildings. The construction method involves deeply embedded mortar between brick pairs, a technique seen in historical sites, ensuring longevity and a timeless appearance. This strategic use of locally sourced brick, combined with Bangladeshi brick patterning, creates a cohesive campus. It establishes a hierarchy of spaces through its brickwork. Facade perforations allow daylight into interior corridors, using traditional techniques. Recessed windows, screens, and protruding brick columns provide shading for classrooms and create covered balconies and walkways. Classrooms are oriented to minimise solar gain in summer, with external walkways and adjacent buildings providing passive solar shading from the morning sun throughout the year. This ensures adequate daylight and outdoor views. Architects designed these spaces for passive heating and shading year-round to minimise energy consumption. This climate responsiveness was achieved through extensive sun pattern analysis and wind flow direction studies, optimising light and ventilation. The academy’s character reflects many original Buddhist universities in Bangladesh. It is defined by the massing and materiality of brick buildings located on a sculpted and planted landscape base surrounding the central Maidan. Alongside the main field, the complex includes smaller connected areas featuring concrete canopies for shelter, along with brick benches and planters. These peripheral spaces serve as transitions between the central Maidan and more intimate interior areas. Spaces are tailored for different age groups; for example, the senior courtyard offers shaded zones under planted trees for focused group activities. The assembly court is simple, with four ‘Dhaak trees,’ which inspired Dhaka’s name. The primary central courtyard accommodates larger gatherings and includes an amphitheatre built around a sand pit. This pit is designed to collect rainwater during heavy rainfall, holding up to 170 mm of water for approximately 10 to 30 minutes. The campus masterplan organises spaces into four zones—Intellectual, Moral, Physical, and Spiritual—supporting a holistic educational philosophy. Each block is designed for a specific function. The Academic Block, a central hub, contains administrative workstations, learning centers, group study areas, and a lecture hall, along with a terrace. Its white-walled classrooms vary in
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“Timber Tales” sparks a dialogue in wood and ink
The ongoing exhibition titled Timber Tales at La Galerie, Alliance Française de Dhaka, invites audiences to experience the collaborative journey of three emerging artists who explore memory, process, and material through the art of woodcut printmaking. Within the exhibition, a faint, earthy scent of wood and ink hangs in the air. Walking into the gallery, some might find themselves pausing longer than expected, tracing the grain of the wood, as if searching for their own stories between the lines. The exhibition features three artists—Rakib Alam Shanto, Shakil Mridha, and Abu Al Naeem—who express individuality through their woodcut prints. This contemplative exhibition is running from June 17 to June 25, 2025. Curated by the artists themselves, the exhibition reimagines the possibilities of woodcut as a medium. Here, the tactile intimacy of carved timber meets the visual language of reflection, nostalgia, and search. As you wander through the space, individual voices emerge. Shakil Mridha’s work, with its minimalistic yet profound geometric forms, feels like a contemporary ode to Bangladeshi folk art, skillfully abstracting familiar motifs. Rakib Alam Shanto’s large-scale black and white pieces command attention, a powerful revival of a classic tradition, showcasing his remarkable focus. And Abu Al Naeem’s pieces, often abstract, subtly reveal hidden figures, reflecting his continuous exploration of materials and techniques. Each artist, in their unique way, elevates woodcut beyond mere reproduction, transforming it into a medium of profound personal expression. And through that expression, each of their work reflects the heart of the creative process, where stories are carved into existence. At the heart of Timber Tales is a tribute to beginnings, to the mentor who shaped them, and to the space where it all began. Their acknowledgement of Professor Md. Anisuzzaman, whose generous guidance helped steer their vision, reveals the deeply collaborative ethos of the show. “This is where it all began—for the three of us,” reads a line from the exhibition note, underscoring the intimate bond between craft, community, and coming-of-age. In an era of digital immediacy, there’s something revolutionary about the deliberate slowness of woodcut. And the three artists have breathed new life into the ancient art of woodcut. More than just a technique, it’s a dialogue between human touch and natural materials. Each frame holds a deeper narrative of tireless dedication—the careful selection of wood, the precise cuts, the methodical inking, and the final, expectant press. Open to all and continuing until 25 June 2025, Timber Tales will leave visitors with more than just images on paper. In a city rushing to reinvent itself, the exhibition feels like a pause, a reminder of our roots with a sense of belonging—to the artists, to the materials, and to the timeless, meditative act of making. Written By Samira Ahsan
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Royal (Vietnam) selects SACMI technology for a new slab line
The heart of the order is the new Continua+ 2180, equipped with cutting-edge digital decoration solutions Following installation of the new SACMI Continua+ 2180, Royal (Vietnam) becomes the first Asia-Pacific group to equip itself with SACMI technology for on-surface and through-body slab decoration. Moreover, the line is digitally coordinated with Deep Digital solutions, supplied here in an all-round configuration: two DHD digital wet decorators and a DDG digital grit-glue decorator. The new line will allow Royal to expand its range by creating new products with unmatched three-dimensional ‘material’ effects, all the strength and durability of ceramic, and a look that mirrors the aesthetics of natural materials. This important investment decision was not motivated by the innovative forming and decorating technology alone: equally crucial was SACMI’s ability to supply the complete plant, from body preparation (with two spray dryers and relative spray-dried powder conveying/storage systems) to firing in a high-efficiency roller kiln. Already strongly positioned on international markets, Royal has now – with SACMI – taken quality in these high-added-value segments to the next level. For example: the manufacture of ceramic countertops and furnishing accessories, with all the advantages Continua+ has to offer in terms of versatility, productivity and fully flexible control of size and thickness, in coordination with all the digital devices on the line.
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Akij Tableware Art of Plating: Season 2 Crowns the “Plating Maestro”
The curtain has drawn on the remarkable journey of Akij Tableware Art of Plating: Season 2, the pioneering reality show that reimagined tableware as a medium for creative expression and showcased the artistry of modern plating. Following weeks of intense competition, visually striking presentations, and exceptional culinary performances, the grand finale—held on May 16, 2025—served as a fitting conclusion to a season defined by innovation and excellence. Md. Golam Rabby emerged victorious as the champion, taking home the Plating Maestro title along with BDT 10,00,000 along with a professional plating course, national media exposure, and an exclusive Akij Tableware dinner set. The competition was fierce, with equally impressive performances by the runners-up: Iffat Jerin Sarker, awarded Plating Icon (1st Runner-up), received BDT 5,00,000; Dr. Rawzatur Rumman, crowned Plating Maverick (2nd Runner-up), won BDT 3,00,000; Homayun Kabir and Nawsheen Mubasshira Rodela, honored as Plating Masterminds (4th and 5th place respectively), each received BDT 1,00,000. Hosted across Banglavision, RTV, Deepto TV, and streaming on Chorki, Akij Tableware Art of Plating: Season 2 captivated audiences nationwide with its unique blend of tradition and innovation. Contestants turned beloved dishes into visual and gastronomic masterpieces, judged on aesthetics, technique, and culinary understanding. Akij Tableware Art of Plating: Season 2 redefined how we experience food—elevating it from everyday necessity to a dynamic, visual art form. The show celebrated creativity, precision, and innovation, turning each plate into a canvas where flavor met form. Throughout the season, contestants pushed boundaries, transforming ingredients into stunning, story-driven presentations that delighted both the eyes and the palate. More than a competition, this season launched a new movement in culinary expression, inspiring audiences to rethink how food is seen, served, and appreciated. And the journey isn’t over—a new season is coming soon, promising fresh talent, bold ideas, and next-level plating artistry. To stay updated on what’s next, follow www.aop.com.bd and join the evolution of food into a true visual experience.
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SACMI Group 2024: revenues surpass €1.7 billion
The yearly financial statement – approved yesterday, 16th May, during the Parent Company Shareholders’ Meeting – highlighted a net equity of more than one billion euros, growing margins and financial solidity. 2024 also saw the drafting of the first Group Sustainability Plan. Paolo Mongardi, President of SACMI, states: “Sustainability is the fuel of future competitiveness. We continue to invest in people and remain focused on the values that have guided SACMI’s enduring worldwide success” Imola, 17th May 2025 – SACMI closes 2024 with sales revenues of 1.728 billion euros. Despite the complex international economic and geopolitical backdrop, the company’s economic and financial fundamentals proved to be sound. For the first time, net equity exceeded one billion euros (1.055 billion, +172 million compared to 2023) while EBITDA settled at over 323 million euros and EBIT at 236 million. Net profit exceeded 200 million. These were the highlights of the Consolidated Financial Statement, presented yesterday evening, 16th May, at the Parent Company’s (SACMI Imola) Shareholders’ Meeting. “2024 was a solid year that went beyond expectations”, pointed out the President, Paolo Mongardi. “SACMI’s forward-thinking strategy rests on solid foundations and fully embraces the global drivers of digitalization and sustainability”. The year saw a continued focus on the core businesses, confirming the sterling reputation of – and customers’ confidence in – SACMI products across all sectors. In parallel with the to-be-expected slowdown in the ceramic sector – the result of international tensions and the sluggish global construction market – the Rigid Packaging, Advanced Technologies, Packaging & Chocolate sectors all performed excellently, driven by highly dynamic markets receptive to innovation. Investment remained consistently high in 2024 at 71 million euros, in line with the previous year, with a strong focus on innovation (276 new patent applications in 2024 alone, over 6,200 in the Group’s history) and training (over 94,000 hours). In parallel, SACMI confirms its role as a key player in the manufacturing industry’s ecological transition: during the year it presented innovative firing processes (e.g. electric), new process control solutions (thanks also to the acquisition of a majority share in Italvision in 2024), plus new eco-compatible standards, processes and materials in the packaging sector. “Sustainability is the key to future competitiveness”, explains President Paolo Mongardi. “We continue to invest in people by focusing on our values, which have consistently guided SACMI to worldwide success.” The green commitment is also evident at Governance level: the obligations of the new European CSRD (Corporate Sustainability Reporting Directive) were brought forward to 2024 and the first Group Sustainability Plan – an ambitious project that details actions and goals along the entire value chain, from suppliers to local communities – was drawn up. In the ESG sphere, SACMI has strengthened monitoring of indirect emissions linked to the use of its products and plants: this is part of an approach that centers on eco-design and the entire product life cycle to ensure processes are truly circular and impacts are minimized. The share of self-produced renewable energy is also growing (2.6 million kWh), the goal being to progressively decarbonize production facilities. On the employment front, the Group had a total of 4,756 employees at the end of 2024, with over 50% of new hires aged under 30. Close collaboration with universities and research facilities also continued. Ties with local communities – a part of SACMI’s DNA since its founding – became even stronger in 2024, with 90% of procurement networks consisting of local suppliers. Over the three-year period, the company also donated 2.4 million euros to healthcare, educational, safety, inclusion, sports and cultural projects. The year 2024 was a special one for SACMI, with the company reaching the milestone of its 105th anniversary. “We enter 2025 aware of not just the challenges but also the opportunities”, concludes the President, Paolo Mongardi, “with all the confidence that only a long history of innovation, solidity and responsibility can provide”.
Read MoreFor the Love of Language, Literature and Nation
With a new sun, new authorities emerge, revitalising familiar spaces. The 40th Ekushey Book Fair 2025, themed “July Mass Uprising: Building a New Bangladesh (New Bangladesh Deconstruction),” featured over 700 publishing houses at the premises of Bangla Academy and Suhrawardy Udyan. The month-long fair was inaugurated by Dr. Muhammad Yunus, the Chief Adviser of the interim government on 01 February. The Amar Ekushey Book Fair, a fundamental element of Bangladesh’s literary heritage, returned this year with a striking and visually captivating transformation. Uniquely crafted stalls add an architectural charm that sets this year’s fair apart from the previous editions. Visitors are greeted with the richness of literature and an impressive array of architecturally designed stalls, each presenting a unique identity. The influence of the new government is evident in the fair’s structured setup, where each stall showcases unique aesthetics through bold shapes, intricate exteriors, and thematic designs. When visiting this year’s Ekushey Book Fair, the crowd was astounding. People of all ages turned the fair into a true celebration. The entrance was bustling with various food vans, and women and children were all dressed up. The Book Fair has never been this festive and crowded in recent years, even on working days. Whether for recreation or out of love for books, the fair should continue in this spirit for eternity, celebrating Bangla language and literature. Readers and visitors took a moment to admire the aesthetics embraced by publishers who dedicated extra time and thought to beautifully decorate their pavilions. One of the highlights of this year’s book fair is the pavilion by Iti Prokashon, titled ‘Ziar Bari’ (Zia’s House), named after Ziaur Rahman, a prominent army chief, freedom fighter and politician who served as the sixth President of Bangladesh from 1977 to 1981. A key figure in the country’s War of Independence, Zia’s name has often been sidelined in public discourse and textbooks due to the agendas of the previous autocratic regime. In contrast, Onnodhara Prokashon transformed its pavilion into a representation of the Bangladesh Parliament House. The sight of these two distinct symbols coexisting on the same ground truly captivated visitors. Afsar Brothers gave their pavilion a harmonious blend of heritage and functionality, making it an inviting space for book lovers while paying homage to Bengal’s rich architectural traditions.
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Inauguration of “Selections” at Kishoreganj
AkijBashir Group has recently expanded its footprint with the launch of a new showroom of its brand emporium, Selections, in Kishoreganj. Guided by the motto – “Select from the Best”, Selections was first introduced in October 2022, with the vision of offering customers a one-stop destination for all products under the AkijBashir Group umbrella. Prior to this, six flagship showrooms were inaugurated in key locations across the country—Banani in Dhaka, Agrabad Access Road in Chittagong, Gazi Burhan Uddin Road and Pathantula in Sylhet, Shimultola in Savar, and Keya Hall Road in Tangail. Since its inception, Selections has steadily earned the trust and attention of a wide customer base. To carry forward this momentum, the latest showroom has been launched in Dubail More, near Gaital Bus Stand, Sadar Kishoreganj. The store showcases a wide-ranging collection of ceramic tiles, boards, doors, sanitaryware, bathware, and tableware —bringing all of AkijBashir Group’s renowned brands under one roof. The inauguration ceremony was graced by the presence of Mohammod Khourshed Alam, Chief Operating Officer of AkijBashir Group, who officially inaugurated the showroom by cutting the ribbon. Distinguished guests from the group were also in attendance, including Mohammed Ashraful Haque, General Manager of Sales at Akij Ceramics; Md. Shahriar Zaman, Head of Marketing; Bishwajit Paul, Head of Sales at Rosa; and Md. Hamidur Rahman, proprietor of HS Tiles and Sanitary Gallery. During the event, Mr. Mohammod Khourshed Alam shared, “Our vision with ‘Selections’ has always been to bring the finest AkijBashir Group products under one roof, helping customers elevate their interiors. The Kishoreganj showroom is another step in that direction, offering a wide selection of premium tiles, sanitaryware, faucets, boards, and doors—all curated for discerning buyers”
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Global Spotlight: CERAMICS CHINA 2025 Debuts First 720+ Exhibitors List!
Marking its 39th edition, CERAMICS CHINA—the world’s largest annual event for ceramic equipment and materials—will grandly open in Guangzhou on June 18th-21st Hundreds of exhibitors from over 20 countries and regions will be spread across SEVEN exhibition halls in Area A of the Canton Fair Complex, strategically organized by product categories and business types. Hall 1.1 and Hall 2.1 feature decorative materials, raw and auxiliary materials, refractories, and wear-resistant materials; Hall 3.1 is a concentrated display of foreign pavilions, international enterprises, and well-known brands; Hall 4.1 and Hall 5.1 mainly focus on digital and intelligent technologies, automation equipment, abrasive, tools, and spare parts; Hall 6.1 gathers the most representative equipment enterprises for ceramic tableware and sanitaryware; Hall 8.1 will highlight tile design, innovative processes, and advanced materials. By late April, Halls 1.1-6.1 are fully sold out, and Hall 8.1 is 90% booked with limited space remaining. SECURE YOUR BOOTH NOW! CERAMICS CHINA is not only the exhibition of the largest scale of its kind in the world, but also the most comprehensive in terms of exhibit variety. It offers an all-encompassing range of equipment, materials, accessories, and services—covering the entire production process from raw material processing to finished product packaging and warehousing. One can find advanced equipment, cutting-edge technologies, and innovative solutions tailored to their production needs at CERAMICS CHINA whether it’s for building ceramics, ceramic sanitaryware, ceramic tableware, art ceramics, garden ceramics, or even electrical ceramics, high-tech ceramics, glass, or stone product. As of May 5th, the total number of registered exhibitors has exceeded 720. To facilitate visitors in accessing exhibitor information and planning itineraries in advance, the organizer has decided to release the first batch of exhibitor list to global ceramics industry professionals ahead of schedule. Click to download CERAMICS CHINA 2025 Exhibitor List CERAMICS CHINA attracts industry professionals from across China and around the world annually with its massive scale, numerous exhibitors, diverse exhibits, and exciting events. The previous edition (2024) accommodated 81,858 visits of visitors and buyers from 72 countries and regions. It is projected that this year’s exhibition will draw attendees from over 80 countries and regions, with total participation expected to reach 100,000 visits. June 18-21, Join us in Guangzhou. Don’t miss out!
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RAK Ceramics Unveils Flagship Showroom in Chittagong
RAK Ceramics, the world’s number one multinational tiles brand, has inaugurated a flagship showroom in Kazir Dewri, the heart of Chittagong. With a unique combination of world-class premium tiles, sanitary ware and modern bath solutions, RAK Ceramics is ready to transform customers’ dream homes or modern workplaces. RAK Ceramics’ new showroom is designed to offer a unique experience of sustainable quality, a touch of luxury, and cutting-edge design. Location: H. Tower, 889, Noor Ahmed Road, Kazir Dewri, Chittagong.
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Akij Tableware Art of Plating: Season 2 Premieres on April 25, 2025
Get ready for Akij Tableware Art of Plating: Season 2, premiering April 25, 2025, and turning food into art! Airing weekends on Bangla Vision at 8:15 PM, RTV at 7:10 PM, Deepto Television at 9:30 PM, and streaming on Chorki with new episodes every Friday and Saturday, this vibrant reality show celebrates Bangladesh’s culinary soul. Rooted in Bengali traditions of family and hospitality, contestants transform dishes like fish curries and creamy dal into visual poetry, blending heritage with modern flair. Following its 2022 debut, Season 2 brings high-energy challenges and showcases local talent, from aspiring chefs to home cooks, competing for the “Plating Maestro” title. The grand prize includes BDT 10,00,000, a professional culinary course, national media exposure, and an exclusive Akij Tableware dinner set. With a BDT 20,00,000 prize pool, runners-up and top participants earn cash, certificates, and recognition. Guided by renowned chef Daniel C. Gomez, contestants craft edible masterpieces, judged on aesthetics, technique, and culinary insight after auditions at Hatirjheel Amphitheater. Tune in to Art of Plating: Season 2 to witness a movement redefining dining as a feast for the eyes and soul, where every plate tells a story!
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Akij Ceramics Inaugurates another New Exclusive Showroom at Banglamotor, Dhaka
Akij Ceramics, the leading brand in Bangladesh’s ceramic tile industry, has reinforced its market presence with the grand opening of another exclusive showroom at Banglamotor, Dhaka—a prime hub for the country’s tile market. A six-time consecutive winner of the Best Brand Award and Super Brand Award, Akij Ceramics continues to set industry benchmarks through innovation, superior quality, and an unwavering commitment to its “Promise of Perfection.” Staying true to its customer-centric approach, the brand has inaugurated its newest business associate showroom, “N. Alam Ceramic Centre,” located at 2/1 Poribagh Road, Banglamotor, Dhaka. The inauguration ceremony was held on April 17, 2025 (Thursday), with Mohammad Khourshed Alam, Chief Operating Officer of Akij Bashir Group, presiding as the chief guest. Distinguished attendees included Mohammed Ashraful Haque, General Manager (Sales) of Akij Ceramics; Md. Shahriar Zaman, Head of Marketing, AkijBashir Group; Bishwajit Paul, Head of Sales (ROSA); and Mohammad Noor A Alam Bhuyan, proprietor of N. Alam Ceramic Centre. Designed to offer an unparalleled customer experience, the showroom features cutting-edge product displays showcasing Akij Ceramics’ latest tile designs and size variations. Enhanced with modern furniture and innovative display tools, the spacious outlet ensures a premium in-store experience. With over 130 state-of-the-art showrooms across Bangladesh—both company-owned and business-associated—Akij Ceramics stands as the largest tile manufacturing and distribution brand in the country. The inauguration of the Banglamotor showroom marks another milestone in the brand’s journey to deliver flawless service and excellence to its valued customers.
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‘Kromosho’: Beyond ‘Belonging’
In the middle of the 2000s, a young Munem Wasif started sifting through Old Dhaka’s veins with his aged friend Zenit—a mechanical artifact from the Soviet era. His 2012 photography masterwork “Belonging,” which would revolutionize visual storytelling in Bangladesh’s art scene, was the culmination of a journey that began with this. Similar to the constantly flowing dark waters of Buriganga, which has seen Dhaka undergo changes, Wasif’s own artistic endeavors have veered through several stages throughout time. His work has continuously pushed audiences to look past the obvious, from “Seeds Shall Set Us Free” to “Collapse.” But despite all of these adventures, one thing stayed the same: his strong, unwavering bond with Old Dhaka. Munem Wasif is doing a solo show in Dhaka after nearly 16 years. Titled “Kromosho,” the show is currently ongoing at the capital’s Bengal Shilpalay. Tanzim Wahab served as the exhibition’s curatorial advisor, Iftekhar Hassan as a project assistant, and Dehsar Works as the architectural designer. It is open to everyone and will end on May 31, 2025. “I felt like something was lacking as soon as ‘Belonging’ was released. I felt that I just got the surface of the people and their celebrations; I couldn’t reach the core of their daily existence, the ‘life’ of Puran Dhaka. That’s when I thought of creating “Kheya”l. This exhibition is like a testament to my last two decades of transformation,” remarked Wasif when asked about “Kromosho”. The opening at Bengal Shilpalay was buzzing with energy as art lovers gathered to witness what promises to be one of the most memorable exhibitions in recent times. The exhibition unfolds like a carefully composed symphony in three movements. Starting from Wasif’s ethereal black-and-white photographs from the ‘Belonging’ era, now in dialogue with new color works from ‘Stereo.’ This juxtaposition creates a fascinating tension between past and present, memory and reality. At ‘Kheyal,’ the filmic meditation about what pulses through Old Dhaka’s veins. At ‘Shamanno’ and ‘Paper Negative,’ the installations blend documentation with imagination, challenging our perceptions of what is real and what is remembered. From a critical viewpoint, Old Dhaka represents a ticking time bomb—overcrowded and decaying, it’s an ugly relic of our greed and collective neglect. But Wasif’s work reveals depths hidden in plain sight: the “life” amongst all these. Beyond the obvious chaos lies a world of hidden poetry. This is what ‘Kromosho’ captures so brilliantly—not just images of a place, but its very essence. The exhibition becomes a mirror, asking questions about what we preserve and what we discard in our relentless march toward modernity. In an age of rapid urbanization and cultural amnesia, Wasif’s work serves as both archive and elegy, reminding us of some stories that cannot be captured through cameras or words. To experience its truest essence, you have to be there in flesh and psyche. As visitors move through the gallery, they’re invited not just to see, but perhaps to introspect. In this sense, ‘Kromosho’ transcends being merely an art exhibition; it becomes a conversation, a homecoming, and, most importantly, a call to witness.
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Foshan Uniceramics Expo — Asia’s Largest Industry Showcase Concludes with Resounding Success
2025 Foshan Uniceramics Expo Concludes Successfully, Global Ceramic Industry Gathers for the Event. From April 18 to 22, the 2025 Foshan Uniceramics Expo was successfully held at the Foshan Tanzhou International Convention and Exhibition Center. As the biggest ceramics expo in Asia and a benchmark for the industry, this year’s event brought together over 600 brands from the ceramic, sanitary ware, and equipment & materials sectors, covering the entire industrial chain and showcasing the world’s most cutting-edge new products, designs, technologies, equipment, and materials. For this year’s exhibition, the international participation reaches new heights. 2025 Foshan Uniceramics Expo attracted overseas brands from Italy, Turkey, Japan, Germany, Australia, and other countries, with Indonesian ceramic brands making their debut as a group. The equipment and materials section highlighted its international appeal, featuring continued participation from leading companies in Italy, Germany, Turkey, and other nations, along with new exhibitors from additional countries. Moreover, professional buyers from 85 countries and regions attended, including distributors, traders, engineering firms, and ceramic manufacturers, further solidifying the exhibition’s global influence. Foshan Uniceramics Expo remains committed to its mission of “Bridging world ceramics to China, and China’s ceramics to the world.” Moving forward, it will continue to foster deeper exchanges and cooperation in the global ceramics industry, injecting new vitality into its international development. Stay tuned for the next edition!
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In Search of the Mangrove Goddess
Exploring the Sundarbans’ cryptic mangroves may be a weird, larger-than-life experience. When danger occurs in this wide wilderness, instinct frequently prompts one to seek spiritual protection. In such cases, the Sundarbans’ guardian spirit—Bon Bibi or Bono Bibi—is invoked. Bon Bibi is revered by the local forest dwellers as the divine guardian of the region’s treacherous environment. From April 4 to April 20, the Kalakendra gallery at the capital’s Lalmatia featured “In Quest of Bono-Bibi,” a mixed-media solo exhibition by artist Saidul Haque Juise. Juise, known for his precise craftsmanship, bright masks, and three-dimensional compositions, returned with a solo display following a long absence. Bon Bibi’s mythology is unique in that it combines both the Islamic and Hindu traditions, and it is commonly held that invoking her name in times of crisis promises divine assistance. The stories related to Bon Bibi are woven in a rich tapestry of mythology, which prodded Juise’s psyche when he was a child. Later in life, deeply touched by the Sundarbans’ environmental deterioration, he created this body of work as a lament and devotion to nature. This anthology, with its recurring themes of environmental concern and political overtones, combines lyrical extracts from folklore or shloks related to Bon Bibi with his own storytelling. The birth of these artworks dates back to the COVID pandemic. A time when despair loomed large. It was during this emotional upheaval that the artist Juise channeled his sorrow, frustration, and fear into a series of expressive sketches. Using vibrant shades of black, green, red, and blue— which are reminiscent of traditional Bangladeshi folk pottery— Juise stained his pages with raw emotion. Later, by combining various materials, such as twisted metal wires, paint, ink, handmade paper, newspaper pieces, etc., Juise enhanced the series even further. He was able to convey Bon Bibi’s holy force and the forest’s ethereal essence through these components. His line drawings smoothly blend with his pen and ink pieces to create complex collages that have a vibrant yet delicate vibe. In the meanwhile, the collection gains a tactile, even unearthly quality from his wire sculptures. The series gives viewers a deep feeling of Bon Bibi’s pervasive atmosphere. Along with his technical finesse, Juise added a unique Bengali flavor to the pieces. He skillfully combined the forms of people, animals, and insects to create flowing silhouettes that convey both motion and motionlessness. These shapes convey a duality: sadness that is subdued yet evident and fury that is controlled but strong. In doing so, Juise creates a collection of work that is both visually pleasing and profoundly significant by balancing artistic form with emotional weight. “In Quest of Bono-Bibi” stands much like an artistic diary that procures the artist’s personal reflections, cultural memory, and the urgent call for ecological reverence. It bridges folklore and modernity, spirituality and artistry—ultimately offering a visual testament of healing and harmony between humans and the natural world.
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Institute of Architects Bangladesh Brings Pohela Boishakh to Life on Its Premises
The Institute of Architects Bangladesh (IAB) welcomed the Bengali New Year in vibrant style, hosting its first-ever Pohela Boishakh celebration on its premises. Titled “Esho Mati Notuner Ahobane”, the event was a colourful and cultural affair that reached beyond the architectural fraternity. Architects’ spouses, children, and extended family were warmly welcomed. The idea was simple: to celebrate the new year and the people who stand behind the scenes of every great architect. Festivities began at 3 PM, as the rhythmic beat of traditional dhol set the tone. Architect Asif M Ahsanul Haq, Convener of the Bengali New Year Celebration Committee, opened the event, inviting everyone into the heart of the celebration. With warm smiles and colorful attire, attendees embraced the spirit of community and enjoyed the laughter and tradition with their extended family. The IAB grounds were transformed into a festive fair, with interactive cultural corners drawing crowds throughout the day. Children gathered around clay artists and potters, their hands deep in clay, learning to mold traditional shapes. Nearby, shitol pati (cooling mat) weavers demonstrated their age-old techniques, encouraging young participants to try their hand at weaving. A painting zone was also set up, where children were free to create without the pressure of competition. Their artwork was later displayed, showcasing unfiltered creativity and color. Laughter echoed from the crowd gathered around the Putul Nach (puppet dance) and magic show, where entertainment delighted audiences of all ages and reminded everyone of the charm of folk performances. At the heart of the event was a bustling Meena Bazaar, alive with the flavors of tradition. Stalls served familiar favorites—muri, murki, naru, moya, samosa, beguni, lemonade, and kacha aam er shorbot—while architects and their families showcased their creative talents through stalls featuring homemade food, traditional sarees, books, paintings, and handmade crafts. It was a beautiful blend of personal passion and cultural pride. Major industry sponsors, including Berger Paints Bangladesh, Italiano Marble and Granite, Indigo Marble and Granite, Tilottoma Group, and Space Couture, added their own festive touch. Their vibrant booths offered free face art, portrait sketches, and a variety of Bengali snacks and refreshments, contributing to the lively spirit of the day. As the sun began to set, the stage came alive with folk songs and traditional dances performed by members of the architectural community. The soulful performance by Sadhu Songo, a renowned Lalon music troupe, captivated the audience with its spiritual melodies. The evening came to a heartfelt close with a collective rendition of “Esho He Boishakh,” followed by heartfelt closing remarks from Professor Dr. Abu Sayeed M Ahmed, President, and Professor Dr. Masudur Rashid, General Secretary of the Institute of Architects Bangladesh. The night concluded with a warm, memorable dinner under the open sky—an evening to remember. This landmark celebration was not just about welcoming a new year, it was about embracing shared roots, honouring cultural expression, and celebrating the bonds that make up the architectural community.
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Celebrating Hamiduzzaman Khan
From 31 January to 15 March, the first-floor gallery of the capital’s Bengal Shilpalay transformed into a mesmerizing display of incredible sculptures and paintings. Titled “Hamiduzzaman Khan,” the spectacular exhibition organized by Bengal Arts Programme honored the life and works of Hamiduzzaman Khan, one of Bangladesh’s most distinguished sculptors. The inauguration took place on Jan 31, graced by the presence of artist and art writer Mustafa Zaman; the director general of Bengal Foundation, Luva Nahid Choudhury; prominent Bangladeshi-Spanish artist Monirul Islam; and architect Mustapha Khalid Palash. Neatly curated by the esteemed Mustafa Zaman, the exhibition was a visual diary of Hamiduzzaman’s lifelong dedication to modern experimental art, which provided visitors with a profound insight into his artistic journey. Some pieces were delicate and intricate, while others were monumental and commanding. His use of geometric abstraction and semi-abstract forms is a testament to his imagination and craftsmanship. The artist has spent decades exploring new artistic dimensions. His ability to transform objects into unique sculptural forms has captivated art lovers even beyond borders for decades. The exhibition at Bengal Shilpalay featured quite a big collection of his artworks, showcasing his talent across multiple mediums including metal and stone sculptures, watercolor paintings, and acrylic paintings inspired by his sculptures. It also showcased some of his sketches, exhibition catalogues, and books on his art. The curator, Mustafa Zaman, praised the artist’s innovative approach to form and structure. He remarked, “Hamiduzzaman sir has consistently delved into the essence of objects, transforming and redefining their shapes in extraordinary ways. His creations showcase decades of dedication and artistic exploration, reflecting a deep commitment to pushing boundaries and reimagining possibilities.” Zaman highlighted the artist’s ability to blend tradition with experimentation, resulting in works that are both timeless and groundbreaking. Hamiduzzaman’s art, he noted, stands as a testament to his relentless pursuit of reinterpreting the familiar into something profoundly unique and thought-provoking. Prominent architect Mustapha Khalid Palash, a guest at the inauguration, shared his admiration, saying, “His simple yet deeply impactful works remain a source of inspiration. This exhibition beautifully celebrates his artistic legacy, offering younger generations a chance to reflect on and reconnect with their cultural roots. It’s a tribute to his enduring influence and a reminder of the power of art to bridge the past and present.” Born in Kishoreganj in 1946, Hamiduzzaman Khan studied at Dhaka Art College (now the Faculty of Fine Arts, Dhaka University) and was mentored by legendary artists like Zainul Abedin, Abdur Razzaque, and Mustafa Monwar. He transitioned from painting to sculpture, pioneering sculpture parks in Bangladesh and leaving behind an impressive legacy. Some of his most popular sculptures include “Shangshaptak” at Jahangirnagar University, “Flying Bird” at the World Bank Dhaka office, “Jagrotobangla” in Brahmanbaria, “Freedom” at Krishibid Institute, and “Peace Bird” at TSC. Expressing his gratitude, Hamiduzzaman Khan spoke about his journey as an artist. “Creating modern experimental artworks in various mediums has been my passion for many years. It hasn’t always been easy, but I am grateful for the support of my peers and art lovers.” The great artistic mind further added, “I am almost 80 years old, but I want to continue making art as long as my mind and body permit!’
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A City’s Story in Stitches and Strokes
Dhaka’s rapid urbanization is impossible to ignore. This city of relentless energy and transformation is a place where tradition and modernity collide amidst its bustling streets and ever-changing skyline. As the economic heart of Bangladesh, it draws thousands seeking better opportunities. But this comes at a cost: overcrowding, strained resources, and a growing disconnect between the old and the new. Against this backdrop, ShohorNama Dhaka Episode II sought to explore the city’s complexities through art. Launched in early 2024, the project brought together visual artists, architects, artisans, and students from the University of Dhaka’s Faculty of Fine Art to create a tapestry of urban narratives. And the exhibition of this project took place from February 15 to 25 at the level 4 under construction space of the capital’s Bengal Shilpalay. The exhibition was inaugurated by H.E. Marie Masdupuy, Ambassador of France to Bangladesh, on February 15, 2025. Titled after the project name, the multidisciplinary exhibition wove together the threads of urban life, resilience, and creativity. Presented by the Bengal Arts Programme in collaboration with the Britto Arts Trust, ShohorNama II was a visual love letter to Dhaka, its people, and their stories. From large appliqué tents to wood-cut prints, installations, and performance art, it was a celebration of Dhaka’s artistic topography. At its core, ShohorNama was about storytelling. One of the standout features is the Pakghor Project, a community kitchen born out of necessity during the devastating floods of 2024 in the Khulna region. Pakghor provided warm meals to 500 villagers for a week. But it became more than just a kitchen—it became a space for shared stories, resilience, and hope. The Dorjikhana Project takes a different approach, focusing on textiles and their cultural significance. Through appliqué and embroidery, artists explore the connection between traditional practices and the modern garment industry. The project also draws inspiration from Bangladesh’s fading circus traditions. Resulting in a stunning collection of textile art that speaks to both the past and the present. Another striking element of ShohorNama is its use of tents. Historically, tents have symbolized temporary shelter for nomadic communities, and in this exhibition, they represent the fluidity of migration—whether due to natural disasters, economic hardship, or political unrest. The Big Tent installation captured this impermanence, reflecting the challenges faced by marginalized communities. The exhibition also highlighted the collaborative spirit of the project. Workshops with the University of Dhaka’s Department of Printmaking and Department of Craft allowed students to contribute to large-scale works, such as woodcut prints and appliqué pieces. These workshops not only honed technical skills but also fostered a sense of shared purpose, blending individual creativity into a cohesive vision. The exhibition was a feast for the senses! As Dhaka continues to evolve, exhibitions like “ShohorNama Dhaka Episode II” remind us of the importance of preserving our stories and traditions. Through art, we can find common ground, build resilience, and imagine a better future.
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Where Artist and Audience Intertwined
Amidst the quietness of Lalmatia’s Block F lies Shunno Art Space—like multidisciplinary artists, it’s also multidisciplinary in character. Limited in floor area but with an illimitable heart, the space adorns exhibitions, has a printing workshop set up, and has a café—intertwined. From February 15 to 22, this cozy space hosted artist Sanjid Mahmud’s solo exhibition “Tracing The Distance.” The week-long exhibition witnessed a vibrant crowd, and the inauguration was graced by eminent artistic figures Hamiduzzaman Khan and Mustafa Zaman. “Exhibition visitors observe art passively, only admiring the finished works. They only view; they don’t paint. But here, they were active participants. They picked up brushes and poured their emotions into the canvasses. Even those who don’t know how to draw found themselves painting. Their raw, unfiltered expressions became the foundation. Then, I stepped in, adding my artistic intervention, blending their spontaneity with my vision.” These words from the artist Sanjid himself perfectly procure the zeitgeist of “Tracing the Distance.” Sanjid Mahmud’s “Tracing the Distance” was an artistic co-production between the artist and the exhibition visitors that prioritized real-time cooperation and process over finality. Art, being a collaborative enterprise, carries remnants of prior forms by combining individual expression with common experiences. However, Sanjid Mahmud’s initiative changed the attention away from linguistic borrowing and toward overlapping artistic expressions in the moment, resulting in a dynamic interplay between creator and participant. Visitors at Shunno Art Space were greeted with empty canvases and encouraged to add spontaneously. The act of production was valued over passive viewing, encouraging people to leave their mark on the canvasses however they liked, be it sketchy motions or painterly strokes, regardless of their creative ability. This fun and engaging method relieved the pressure of normative practices, allowing for raw, unfiltered expression. Sanjid Mahmud then stepped in, responding to these inputs without striving for a certain style result. The end result was a body of work that defied decisive conclusion, undermining modernist conceptions of linear progression and chronological time. The title of the exhibition, “Tracing the Distance,” emphasized its purposeful break with the logic of modernity, which minimizes artists’ territorial consciousness and frequently limits them to historical circumstances. Through the process of collaborating with his audiences, Sanjid Mahmud challenged the conventional understanding of art as a “significant form” or a refined praxis. In order to reveal the fluid, communal character of creativity, he instead opened the gallery’s “white cube.” By means of this collaborative approach, the artist stimulated a reconsideration of the connections among art, artists, and the art community. Thus, Shunno Art Space transformed into a place of reflection where both appreciation and creation are rethought. By emphasizing the act of doing rather than observing, “Tracing the Distance” questioned established hierarchies and honored the beauty of group, unplanned expression while providing a novel viewpoint on the ever-changing conversation between shared and individual artistic languages. Written By Shahbaz Nahian
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Aarong Flagship Store A Symphony of Architecture, Design and Craft
Aarong, the flagship brand of BRAC, has long been a beacon of Bangladeshi craft and heritage. Since its founding in 1978, it has evolved from a humble platform supporting rural artisans into one of the most iconic lifestyle retailers in the country. At every stage of its journey, Aarong has remained dedicated to preserving traditional crafts while embracing innovation in design and retail. This commitment culminates in its latest and most ambitious endeavor: the Aarong Flagship Store in Dhanmondi. This isn’t just a new store; it’s a monumental celebration of Bangladeshi craftsmanship, culture, and creativity. With its grand opening, the Aarong Flagship Store has become the world’s largest craft store. Yet beyond the scale, it is the thoughtfulness of the design, the intricacy of the artistry, and the profound connection to Bangladesh’s heritage that make it truly remarkable. Here, architecture becomes a canvas, interiors breathe with narrative, and every art installation stands as a tribute to the nation’s soul. Weaving a Legacy in Concrete At the heart of Dhanmondi, where tradition meets the rhythm of urban life, stands a building that does more than offer products—it tells a story. The Aarong Flagship Outlet, designed by the visionary team at Synthesis Architects, is not merely a retail space—it is a woven fabric of heritage, memory, and movement. The design draws its soul from an age-old practice: weaving. For generations, Bangladeshi artisans have mastered the loom, interlacing threads into forms that embody both beauty and utility. This fundamental craft became the architectural metaphor—fluid, connected, and timeless. A singular, sweeping ribbon—symbolic of woven fabric—emerges from the ground, bends, flows, and re-emerges, wrapping the building in a gesture that is both gentle and bold. This ribbon, meticulously cast in handcrafted concrete, intertwines tradition with contemporary expression. It shields and shelters, filters light and air, and gracefully performs the roles of both skin and soul. Designing for Aarong, a brand synonymous with preserving and promoting Bangladeshi craftsmanship, was an exercise in alignment. It was about giving architectural form to a cultural mission. The interior was choreographed as an experience. Color, texture, and flow were orchestrated to tell stories of rural hands, tribal patterns, and generational skill. The internal movement—voids, escalators, panoramic lifts—echoes the interlacing of threads on a loom. The building doesn’t simply house craft; it embodies it. There were challenges—limited plot size, urban code restrictions, and the complex layering of customer experience. But like the imperfections in a handwoven textile, these constraints added to the character. The architects embraced a rare construction process involving custom shuttering techniques that fused handcrafted care with structural innovation. It was, in many ways, architecture as craft—thoughtful, tactile, and deeply human. The Aarong Flagship Outlet is more than a commercial destination—it is a living artifact. A building where the spirit of Bangladesh rises through poured concrete, where ribbons of history and modernity interlace, and where the vision of Synthesis Architects comes alive in every curve, corner, and corridor. Narratives in Space: Designing Aarong’s Interior Stepping inside Aarong’s Dhanmondi flagship store is like entering a carefully curated journey through the textures, colors, and stories of Bangladesh. The interior design—an inspired collaboration between DWm4 Intrends Ltd, KNMR Ltd – Quirk & Associates JV, and Aarong’s in-house team—transforms the space into something far more than a retail outlet. It becomes a living, breathing storybook. From the outset, Aarong’s internal creative team played a vital role in shaping the vision. With deep roots in the brand’s philosophy and a nuanced understanding of its audience, they ensured the design remained authentically rooted in Bangladeshi heritage while pushing the boundaries of modern retail aesthetics. Guided by a philosophy rooted in transparency, movement, and nature, the space invites exploration. A rich interplay of materials, tones, and layers creates a rhythmic flow throughout the store. The tactile warmth of crafted surfaces, the strategic use of natural light, and the organic integration of greenery collectively form an ambiance that is both calming and dynamic. Each area reveals a distinct narrative, woven through thoughtful transitions that guide visitors from one crafted world to another. Every detail reflects a broader intention: to connect the threads of past and present, tradition and innovation, artisans and their audience. The space becomes part of the product’s story, amplifying its meaning and value. Executed with precision and artistry by the expert team at Charuta Limited, the interior fit-out brings this collective vision to life. At the heart of this journey was the dedicated team of architects and designers from Aarong, whose cultural insight and creative vision shaped an environment that celebrates both legacy and innovation . Art Installations: Where Stories and Spaces Intertwine Beyond architecture and interiors, the Aarong Flagship Store stands out for its large-scale art installations—transforming it from a retail space into a cultural landmark. Each piece, created by a blend of independent artists and Aarong’s in-house team, captures a different facet of Bangladeshi life and heritage. The Great Arena: A Monumental Nakshi Kantha Designed by Samiul Alam Himel in collaboration with Aarong’s in-house team, this towering four-story installation reimagines the storytelling tradition of Nakshi Kantha in architectural form. Traditionally stitched by rural women to document everyday life, these narrative quilts are here translated into flowing sculptural lines and vivid, layered colors. Titled “MohaArongo: The Great Arena,” the piece stretches 44 feet high and 10 feet wide, handcrafted over six months by 250 artisans from rural Bangladesh. The work is not only monumental in scale but also in meaning. Created from repurposed fabrics, salvaged beads, and discarded ornaments, it embodies a philosophy of renewal and resilience. The piece weaves a narrative journey through rural life, folklore, urban aspirations, and cosmic imagination—stitched in intricate Nakshi Kantha techniques drawn from Aarong’s archives and reinterpreted across various fabrics. Orange threads guide the eye through this swirling story, culminating in motifs like peacocks, trees of life, and village fairs, each carrying hidden stories within their forms. Rising through the central atrium, the installation invites viewers to look upward and
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PEOPLES CERAMIC INDUSTRIES Clay, Fire, Art: A Story of Dreams
As the morning sun gently illuminates glass windows and casts playful shadows on the floor, a new day’s story unfolds. Beyond the city’s hustle and bustle, skilled hands at Peoples Ceramic Industries Limited (PCI) work tirelessly to craft each perfect piece—an extraordinary fusion of clay, fire, and creativity. Today, Bangladesh’s ceramic industry has evolved far beyond home décor into a globally recognised brand. At the forefront of this transformation is PCI. Established in 1962—originally known and registered as Pakistan Ceramic Industries Ltd.—the company has grown over 63 years into one of the nation’s oldest and most respected ceramic manufacturers. Its reputation for high-quality porcelain tableware, sustainable technology, and a robust international presence speaks for itself. In this edition of Ceramic Bangladesh, we sat down with Lutfur Rahman, the Managing Director of Peoples Ceramic Industries Ltd. A visionary in his own right, Lutfur has both preserved and expanded his father’s legacy, positioning PCI as a key player in Bangladesh’s industrial evolution. A Legacy Built on Vision and Integrity Lutfur Rahman began the interview by proudly showing a photograph of his father, Ansar Uddin Ahmed—the mastermind behind Peoples Ceramic. A civil engineer who graduated from Ahsanullah Engineering College (now BUET) in 1947, Ansar Uddin was driven by an enduring desire to serve his country—not through bureaucracy but by creating something truly meaningful. After a brief stint in the government sector, he pursued his entrepreneurial dreams. In the early 1950s, he founded United Engineers, securing a first-class license from the government. His firm was responsible for several prominent constructions that still stand today, including the Ceramic Institute in Tejgaon, Dhaka Polytechnic Institute, and Chittagong Medical College and Hospital. It was during his frequent visits to the Ceramic Institute that the idea for a ceramic factory was born. Reflecting on his father’s journey, Lutfur shared, “The relationship between children and their parents has always been special. I grew up watching my father work relentlessly, with my mother by his side supporting every step. His singular desire was to create a new industry and leave behind porcelain tableware as a legacy to improve the quality of life for our people. To realize this dream, he embarked on a long, challenging journey filled with obstacles. He always said, ‘To achieve something, one has to give up something, and there is no shortcut to building a solid foundation.’” The Birth of Peoples Ceramic In 1962, Peoples Ceramic Industries Ltd. was established with a clear and powerful vision—to provide affordable porcelain tableware for ordinary people. At a time when ceramic products were considered a luxury, Mr. Ahmed aimed to bring dignity and elegance to everyday dining. The company chose to manufacture European-style tableware, targeting both local tastes and future export opportunities. By 1982, PCI had successfully entered the international market, with its porcelain products welcomed in Holland and the United Kingdom. Located in the Tongi Industrial Area—a prominent industrial zone in Gazipur, just 20 kilometers from Dhaka—PCI started with basic housewares, tea cups, and saucers designed primarily for restaurant use. Over time, the product line expanded to include institutional ranges catering to hotels, restaurants, and the broader hospitality sector. Reflecting on the company’s humble beginnings, Lutfur recalled, “Peoples Ceramic was established in 1962, with the technical support of Sone Ceramic, Japan. At that time, Japanese engineers stayed in Dhaka to supervise the installation and production process. In the early days, our factory ran on furnace oil, and our products gained popularity right from the start.” Mr. Ansar Uddin Ahmed, who served as managing director of both Peoples Ceramic Industries and Standard Ceramic Industries Ltd., passed away on August 17, 2005. He also served as the first President of the BCMEA from 1992 to 2002, playing a vital role in revolutionising the export of local ceramics. “Tajma Ceramics, established in 1959, was the pioneer in manufacturing earthenware. However, PCI was the first to introduce porcelain production in Bangladesh,” Lutfur explained. According to him, PCI was formally inaugurated by then Industries Minister Dewan Basit and the Japanese Ambassador, with commercial production beginning on June 23, 1966. Overcoming Challenges and Embracing Innovation Marketing large-scale production in the early years posed a significant challenge. To overcome this, Mr. Ahmed ventured into the Pakistani market, successfully competing against two established factories. PCI’s hard-grade porcelain quickly won acceptance, carving out its niche within the subcontinental market. The company has consistently invested in state-of-the-art technology, global raw material sourcing, and upgraded machinery to guarantee quality and cost-effectiveness. This forward-thinking approach has enabled PCI to stay ahead of industry trends for decades. In 2009, the company introduced decal printing—initially using basic logos—and by 2012 had established a fully automated decal printing facility, expanding its design capabilities and reinforcing its brand identity. Aesthetic Diversity: Designs That Tell a Story Today, PCI offers a diverse range of tableware, neatly categorized into housewares, hotelware, and giftware. The company produces approximately 13 million pieces of porcelain tableware annually and employs nearly 712 people. These milestones stand as a tribute to its commitment to quality and innovation. The Road Ahead: Legacy and Vision Under Lutfur Rahman’s leadership, PCI continues to honor his father’s legacy with dedication and innovation. The company has adopted sustainable production practices and is actively exploring new export markets. As Lutfur puts it, “We still hold on to the principles my father set—quality, integrity, and making ceramics accessible for all. Our goal is not only to serve our customers but also to contribute to the country’s economic and industrial growth.” Looking to the future, PCI is exploring renewable energy integration, digital production processes, and expanding its footprint into emerging markets in Asia and Africa. As Bangladesh’s ceramic industry gains global prestige, Peoples Ceramic Industries Ltd. remains at its heart—a symbol of dreams forged in clay and fire, shaped by vision, and driven by a commitment to excellence. Maximizing Waste Utilization in Ceramic Production PCI is also a leader in sustainable practices. “We actively reclaim ceramic scraps at various stages of production—including the green (unfired), bisque
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Celebrating 5 Years of Success of the Sponsors and Patrons Recognition
Shaping Bangladesh was one of the most prestigious events of Ceramic Bangladesh Magazine, organized by BCMEA (Bangladesh Ceramic Manufacturers and Exporters Association). The event gathered many renowned and well-known architects, engineers, industry leaders, and industry personnel from different sectors under one roof. It was a different way of introducing the new ways of rebuilding and reshaping Bangladesh with many unique and extraordinary ideas and thinking of brilliant minds and visionary individuals of the country. Without the support of the sponsors, the event would never have happened in reality. It was the encouragement, support, and dedication of the valuable sponsors who have come forward to make this event successful and create a new buzz in the town. On that note, special thanks to all the sponsors and partners of the event for making a special and notable contribution to the event and playing their part crucially. Valued Sponsors of Shaping Bangladesh Special recognition and deepest gratitude to the valued sponsors and partners for providing their invaluable support. Their generous contribution has played a significant role in making this event possible and helping BCMEA bring all the valuable communities together to promote a meaningful experience. The valued sponsors of Shaping Bangladesh were: • Platinum Sponsor: Akij Ceramics Limited • Powered by Sponsors: Meghna Ceramic Industries Limited. and X Ceramics Limited • Associated Sponsors: Sheltech Ceramics Limited, DBL Ceramics Limited, Mir Ceramic Limited Event Partners: • Gift Partner: RAK Ceramics (BD,) Ltd. • Media Partner: The Business Standard • Hospitality Partner: Dhaka Regency and Chuti Resort • Wardrobe Partner: Fiero • Other Supporting Partners: 01. BHL Ceramic Co. Ltd., 02. Mirpur Ceramic Works Ltd., 03. Ali Ceramic Ind. Ltd., 04. Adroit Swimming Ltd., 05. Nupami BD Ltd., 06. Amber Board Mills Ltd., 07. Lonon BD BCMEA and Ceramic Bangladesh Magazine are extremely grateful and honored by their presence and collaboration for the event, and they also look forward to continuing these valuable relationships in the future by working together. Top 5 Contributors in 5 years journey of Ceramic Bangladesh Magazine Shaping Bangladesh was not only an event to gather the brilliant minds, but it was also a remarkable celebration for the 5-year successful journey of Ceramic Bangladesh Magazine. BCMEA and Ceramic Bangladesh Magazine expressed their heartfelt gratitude to the constant supporters of the publication. Here are the top 5 contributors of the Ceramic Bangladesh Magazine in last 5 years who have helped to sustain the publication and allowed the magazine to grow, evolve, and continue delivering quality content to the readers, and showcase unique and extraordinary stories through the lenses of writers and photographers. Moreover, the continuous and unwavering belief in the publication was the cornerstone of this event’s success. The partnership has made the event more meaningful. BCMEA and Ceramic Bangladesh Magazine are truly honored to have all the sponsors, partners, and contributors by their side and look forward to continuing this journey together by building more impactful and significant years ahead.
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Kromosho Beyond ‘Belonging’
In the mid-2000s, a young- Munem Wasif began exploring the hidden corridors of Old Dhaka alongside his trusty, timeworn companion, Zenit—a mechanical relic from the Soviet era. This journey eventually culminated in his 2012 photographic masterpiece Belonging, a work that revolutionized visual storytelling in Bangladesh’s art scene. Much like the dark, ever-flowing waters of the Buriganga that have witnessed Dhaka’s transformation, Wasif’s artistic journey has traversed many phases—each urging audiences to look beyond the surface. From `Seeds Shall Set Us Free’ to `Collapse’, his work continuously invites deeper reflection, all while retaining an unbreakable bond with Old Dhaka. After nearly 16 years, Munem Wasif returns to Dhaka with a solo exhibition titled `Kromosho’, now on display at Bengal Shilpalay in the capital. The show, which runs until May 31, 2025, features contributions from curatorial advisor Tanzim Wahab, project assistant Iftekhar Hassan, and architectural designer Dehsar Works, and is open to everyone. Reflecting on his previous work, Wasif explained, “I felt something was lacking when Belonging was released. It merely touched upon the surface of the people and their celebrations—I couldn’t capture the core of their daily lives, the very ‘life’ of Puran Dhaka. That realization gave birth to Kheya’l. This exhibition is a testament to my transformation over the past two decades.” The opening at Bengal Shilpalay buzzed with energy as art enthusiasts gathered to witness what promises to be one of the most memorable exhibitions in recent memory. Kromosho unfolds in three movements: it begins with Wasif’s ethereal black-and-white photographs from the Belonging era, which converse with his fresh, vibrant color works from Stereo. This juxtaposition creates a dynamic tension between past and present, memory and reality. In Kheyal, a cinematic meditation captures the pulsing rhythm of Old Dhaka, while the installations Shamanno and Paper Negative blend documentation with imagination, challenging our perceptions of what is real versus what is remembered. Critically, Old Dhaka may seem like a ticking time bomb—overcrowded, decaying, and a bitter relic of collective neglect. Yet, Wasif’s work reveals the hidden vitality amid this chaos, unearthing a poetry rarely seen by the casual observer. Kromosho does more than display images of a place; it captures its very essence. The exhibition serves as a mirror, prompting us to consider what we preserve and what we forsake in our relentless march toward modernity. In an age of rapid urbanization and cultural amnesia, Wasif’s work stands as both an archive and an elegy—an enduring reminder that some stories transcend what can be captured by cameras or words. To fully appreciate its depth, one must experience it both in person and with an open, reflective heart. As visitors wander through the gallery, they are invited not only to observe but also to introspect. In this way, Kromosho transcends the role of a mere art exhibition—it becomes a conversation, a homecoming, and ultimately, a call to bear witness. Written by Shahbaz Nahian
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Puthia’s Purls
Nestled in northern Bangladesh in the heart of Rajshahi, the Puthia Rajbari (Palace) Complex stands as a vivid reminder of the region’s storied past. This captivating ensemble of temples and palaces—set against a backdrop of tranquil water bodies and lush greenery—offers visitors a rare glimpse into the majesty of Bengal’s bygone eras Puthia’s rise to prominence dates back to the late 16th century, evolving by the 18th century into a bastion of wealth and influence. Originally part of the Laskarpur Pargana and named after Laskar Khan Nilamber—the brother of the first zamindar, who earned the title of Raja from Mughal Emperor Jahangir—the estate underwent a significant division in 1744. This partition split the zamindari into four co-shares, with the Panch Ani (five annas) and Char Ani (four annas) shares emerging as particularly influential. The Panch Ani estate, skillfully managed by Maharani Sarat Sundari and Maharani Hemanta Kumari, became celebrated for its efficient administration and enthusiastic patronage of the arts. In 1895, Maharani Hemanta Kumari Devi commissioned the construction of the two-storied Puthia Rajbari—an architectural marvel dedicated to her mother-in-law, Maharani Sarat Sundari Devi. A fine example of Indo-Saracenic Revival architecture, the palace harmoniously blends European neoclassical ideals with indigenous Bengali design. Strategically located along the Rajshahi–Natore highway (approximately 30 km east of Rajshahi town and 1 km to its south), the palace is surrounded by protective ditches and sprawls over 4.31 acres. It is organized into four distinct courts: the Kachhari (office) courtyard, the Mandir Angan or Gobindabari (temple court), the Andar Mahal (private quarters), and the residence of Maharani Hemanta Kumari Devi. Today, the palace also functions as a museum, offering insights into the rich tapestry of Puthia’s history. Under British colonial rule, the Puthia family continued to play a pivotal role in Bengal’s governance. Eager to integrate local elites into their administrative framework, the colonial authorities relied on influential zamindars such as the Puthia royals. This collaboration enhanced their economic wealth and social standing while cementing Puthia’s reputation as an architectural and cultural beacon during the 19th century—a remarkable melding of Mughal elegance with European influences that produced a unique heritage. The palace rooms are arranged around several courts, all of which are single-storeyed except for the Kachari Angan. This section features Palladian porticos with four semi-Corinthian columns on both the western and eastern ends—one leading to the Kachari Angan and the other to the Temple (Gobindabari) courts. The porticos and central section include arcaded loggias on the first floor, while a wooden staircase on the east side ascends to three varied rooms (two of which once served as treasuries) on one side and four rooms with verandahs on the other. The northern block is double-storeyed, with a wide hall measuring 21.95 m x 7.16 m, a verandah with side balconies, and six additional rooms upstairs. In the Andar Mahal, the western section comprises two rooms and several bathrooms, while the eastern section houses a one-storeyed residence of Rani Hemanta Kumari. This residence includes a porch, a central reception hall with nine rooms, extended arch-adorned verandahs, and a roof supported by iron and wooden beams. Overall, the palace primarily served as the administrative and residential hub of the Puthia estate. The complex is also home to several iconic temples that epitomize its architectural grandeur: Bhubaneshwar Shiva Temple (1823): Constructed by Rani Bhubonmoyee Devi, this temple is the largest Shiva temple in Bangladesh. Built in the Pancha Ratna (five-spired) style, it enchants visitors with intricate stone carvings and houses a massive black basalt Shiva Linga—the largest of its kind in the country. Govinda Temple: Erected in the mid-19th century by the queen of Puthia and dedicated to Lord Krishna, this temple is famed for its exquisite terracotta ornamentation. Its five imposing spires, detailed with depictions of divine figures, epic battles, and mythological narratives, showcase the fervor and artistic talent of the region. Jagannath Temple: In a striking departure from conventional designs, this two-storied octagonal temple—dedicated to Lord Jagannath—features four pillars crowned with domes. Its unconventional shape highlights the infusion of European neoclassical elements into traditional local design. Chauchala Chhota Govinda Mandir: Dating to the late 18th or early 19th century, this temple adheres to the Char Chala style, characterized by its distinct four-cornered roof. Its terracotta façade vividly narrates rich tales from Hindu mythology, including cosmic battles between gods and demons. Bara Anhik Mandir: Representing an intriguing fusion of styles, this temple combines a central two-chala structure with two flanking four-chala wings—a rare architectural combination scarcely seen elsewhere in Bangladesh. Choto Shiv Mandir: Tucked behind the Rajbari, this humble yet finely crafted temple exemplifies the refined skills of Bengal’s artisans and provides a serene retreat for those seeking a private space for reflection. As Bengal’s social and political landscapes evolved under British influence, complexes like Puthia became more than centers of worship—they grew into symbols of local identity. The sacred grounds of the Puthia Temple Complex evoke an era when devotion, artistic brilliance, and effective governance merged to create a legacy that continues to inspire awe. Even amid challenges such as the Bangladesh Liberation War and other periods of political upheaval, dedicated preservation efforts by local authorities and heritage organizations have maintained the complex’s original splendor. In safeguarding its stone and clay, they preserve not merely a collection of monuments but a living cultural heritage that speaks volumes about the spirit of Bengal. Exploring Puthia’s legacy invites further discovery—from delving into the nuanced artistic details of terracotta carvings to understanding how colonial and indigenous influences converged to shape regional identity. This complex remains a beacon for anyone passionate about history, art, and the enduring human endeavor to immortalize culture through architecture. Written by Shahbaz Nahian
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Indian Ceramics Asia
Announces New Dates for 2026 Edition: To Be Held from January 28–30, 2026 in Gandhinagar, Gujarat, India Indian Ceramics Asia, India’s only B2B trade fair for the ceramics and brick industry, has announced the dates for its landmark 20th edition. The upcoming show will take place from January 28–30, 2026, in Gandhinagar, Gujarat. Organised by Messe Muenchen India and Unifair Exhibition Services, the 2026 edition is strategically scheduled earlier in the year to better align with the industry’s annual planning and investment cycles. The new dates are expected to deliver enhanced value for exhibitors and visitors alike—unlocking fresh business opportunities, accelerating decision-making, and setting the tone for innovation-led growth across the industry. The announcement follows the successful completion of the 19th edition, held from March 5–7, 2025, at the same venue. This edition attracted over 250 brands and more than 8,000 trade professionals from 32 countries, marking a vibrant convergence of ideas, technology, and global best practices. The 2025 edition stood out for its focus on energy innovation, logistics optimization, and global competitiveness. Exhibitors like SACMI, KEDA, Sibelco, Systems Ceramics, and Modena showcased advanced machinery and raw materials aimed at making ceramic manufacturing more cost-effective and sustainable. The Live Demo Zone and Ceramics Career Connect initiatives offered real-time learning and talent engagement, further enriching the visitor experience. International pavilions from Italy and Germany brought in automation-centric solutions and sustainable practices, strengthening cross-border collaboration. As the industry continues to navigate challenges around energy, supply chains, and global demand, Indian Ceramics Asia remains the sector’s most trusted platform for innovation, networking, and growth. Join us from January 28–30, 2026, in Gandhinagar—and be part of the ceramics industry’s defining event in South Asia. For more details, visit www.indian-ceramics.com
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Bangladesh Investment Summit 2025 A New Dawn for Economic Growth?
Bangladesh now stands at a critical crossroads. As the country prepares to transition from a least-developed nation (LDC) to a middle-income economy in 2026, it grapples with significant hurdles. Despite years of economic resilience, enduring issues—such as import dependency, skill shortages, stagnant private investment, and declining foreign direct investment (FDI)—continue to slow progress. In this challenging environment, the Bangladesh Investment Summit 2025 emerged as a pivotal event, unveiling initial investment proposals worth Tk 31 billion (3100 crore) and igniting cautious optimism among policymakers and investors. Convergence of Promise and Challenges Organized by the Bangladesh Investment Development Authority (BIDA), the four-day Dhaka summit, held from April 7 to April 10, 2025, brought together over 550 investors and business representatives from more than 50 countries. Inaugurated by Chief Advisor Dr. Muhammad Yunus, the summit sought to reimagine Bangladesh’s global investment identity even as it faced structural challenges. Ultimately, the success of these initiatives will hinge on whether early commitments evolve into sustained and tangible investments. For years, Bangladesh’s investment landscape has remained largely stagnant. Overall investments have hovered between 24–28 percent of GDP, with private investment stuck at 22–24 percent and FDI persistently below 1.0 percent. Recent declines in private investment in FY2023 and FY2024, along with a continuous drop in FDI since FY2018, have been attributed to bureaucratic hurdles, policy unpredictability, and macroeconomic instability—particularly in managing exchange rates. Yet, amid these challenges, the summit has sparked a renewed sense of hope. Global Multinationals Betting on Bangladesh Three major international companies announced expansion plans during the summit: Inditex (Spain): The retail giant behind Zara reaffirmed Bangladesh’s role as a key sourcing hub and hinted at increased procurement. Lafarge Holcim: The cement leader discussed plans to broaden operations and explore carbon capture initiatives. Handa Industries (China): The company committed $150 million to develop textile, dyeing, and garment units in designated economic zones. In addition, Dubai-based DP World expressed interest in investing in Chattogram’s new Mooring Container Terminal. Celebrating Local Champions Local enterprises also received significant recognition at the event. Four Bangladeshi firms were honored for their contributions: bKash (Excellence in Investment): The trailb lazing mobile financial services provider backed by IFC, Ant Group, and SoftBank. Fabric Lagbe (Innovation Award): A digital marketplace that empowers traditional weavers. Walton (ESG Award): A leading local electronics manufacturer exporting to over 40 countries. Square Pharmaceuticals (Investment Excellence): A company that has grown from modest beginnings in Pabna to a globally recognized pharmaceutical powerhouse. These success stories underscore that, despite systemic challenges, Bangladeshi enterprises can thrive on the international stage. Global Investors Show Confidence There is growing international faith in Bangladesh’s revised approach to investment. Foreign investors have commended the interim government for taking proactive measures to attract FDI—a marked departure from previous administrations. A delegation of 60 investors from the U.S., South Korea, China, Japan, India, Australia, and the Netherlands toured key hubs such as the Korean Export Processing Zone (KEPZ) in Chattogram and the Japani Export Processing Zone (JEPZ) in Narayanganj, exploring opportunities in textiles, IT, and manufacturing. KEPZ: A Model Investment Hub Operated by South Korea’s Youngone Corporation, KEPZ has become a shining example of Bangladesh’s readiness for FDI. Investors were impressed by its well-established infrastructure, efficient licensing procedures, and worker-friendly amenities—including a hospital, a textile institute, a 40MW solar project, and an effluent treatment plant. With $700 million already invested, KEPZ now hosts 48 factories and employs 30,000 workers, 75 percent of whom are women. Forging Sustainable Partnerships The summit also facilitated key agreements. Notably, BIDA, the Commerce Ministry, ILO, and UNDP issued a joint declaration to promote sustainable and inclusive growth through targeted trade reforms. Additionally, UK Trade Envoy Baroness Rosie Winterton highlighted long-term opportunities in healthcare and education, paving the way for enduring global partnerships. Navigating the Road Ahead: Can Bangladesh Overcome Its Investment Slump? Despite the summit’s positive momentum, Bangladesh’s investment climate continues to face obstacles: High bank interest rates that deter private borrowing. Policy inconsistencies under the interim government create uncertainty. Weak FDI performance compared to regional competitors like Vietnam and India. Analysts stress that without significant structural reforms—streamlining bureaucracy, ensuring policy stability, and stabilizing the macroeconomy—Bangladesh may struggle to sustain the anticipated investment surge. Execution is Key The Bangladesh Investment Summit 2025 has successfully rebranded the country as an emerging investment destination. With multinationals such as Inditex, Lafarge Holcim, and Handa Industries pledging expansion and local leaders like bKash and Walton proving their global competitiveness, there is considerable cause for optimism. However, the real challenge now lies in execution. Only if Bangladesh addresses its business environment hurdles, refines regulatory frameworks, and maintains macroeconomic stability can this new momentum herald a transformative economic chapter. For now, the world watches closely—will Bangladesh seize this moment, or will these early promises fade away? Only time will tell. Written by Sajibur Rahman
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A City’s Story In Stitches and Strokes
Dhaka’s rapid urbanization is impossible to ignore. This city of relentless energy and transformation is a place where tradition and modernity collide amidst its bustling streets and ever-changing skyline. As the economic heart of Bangladesh, it draws thousands seeking better opportunities. But this comes at a cost: overcrowding, strained resources, and a growing disconnect between the old and the new. Against this backdrop, ShohorNama Dhaka Episode II sought to explore the city’s complexities through art. Launched in early 2024, the project brought together visual artists, architects, artisans, and students from the University of Dhaka’s Faculty of Fine Art to create a tapestry of urban narratives. And the exhibition of this project took place from February 15 to 25 at the level 4 under construction space of the capital’s Bengal Shilpalay. The exhibition was inaugurated by H.E. Marie Masdupuy, Ambassador of France to Bangladesh, on February 15, 2025. Titled after the project name, the multidisciplinary exhibition wove together the threads of urban life, resilience, and creativity. Presented by the Bengal Arts Programme in collaboration with the Britto Arts Trust, ShohorNama II was a visual love letter to Dhaka, its people, and their stories. From large appliqué tents to wood-cut prints, installations, and performance art, it was a celebration of Dhaka’s artistic topography. At its core, ShohorNama was about storytelling. One of the standout features is the Pakghor Project, a community kitchen born out of necessity during the devastating floods of 2024 in the Khulna region. Pakghor provided warm meals to 500 villagers for a week. But it became more than just a kitchen—it became a space for shared stories, resilience, and hope. The Dorjikhana Project takes a different approach, focusing on textiles and their cultural significance. Through appliqué and embroidery, artists explore the connection between traditional practices and the modern garment industry. The project also draws inspiration from Bangladesh’s fading circus traditions. Resulting in a stunning collection of textile art that speaks to both the past and the present. Another striking element of ShohorNama is its use of tents. Historically, tents have symbolized temporary shelter for nomadic communities, and in this exhibition, they represent the fluidity of migration—whether due to natural disasters, economic hardship, or political unrest. The Big Tent installation captured this impermanence, reflecting the challenges faced by marginalized communities. The exhibition also highlighted the collaborative spirit of the project. Workshops with the University of Dhaka’s Department of Printmaking and Department of Craft allowed students to contribute to large-scale works, such as woodcut prints and appliqué pieces. These workshops not only honed technical skills but also fostered a sense of shared purpose, blending individual creativity into a cohesive vision. The exhibition was a feast for the senses! As Dhaka continues to evolve, exhibitions like “ShohorNama Dhaka Episode II” remind us of the importance of preserving our stories and traditions. Through art, we can find common ground, build resilience, and imagine a better future. Written by: Shahbaz Nahian Photo: Bengal Art Foundation | Courtesy
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Where Nature Literature and Architecture Converge
Every person envisions a path uniquely their own. For Mesbah-ul-Kabir, the visionary force behind Kabir and Associates, that path was rooted in literature—especially Bangla literature, which continues to capture his heart. Picture a building as if it were a poem: its floors serve as verses, its design the underlying rhythm, and within the interplay of these elements unfolds the poetic vision of its creator. Though destiny steered him away from writing verses, it set him on the course of designing ones conceived in concrete, glass, and steel. When asked about his design philosophy, Mesbah replied, “I don’t follow a singular style. Instead, I draw inspiration from nature—the master designer. Nature effortlessly embraces the path of least resistance, creating a harmonious, albeit imperfect, balance. Unlike manmade objects that often adhere to strict forms, every new project demands its own innovative treatment. I learn and evolve with each undertaking.” This commitment to constant reinvention has defined his career and led him to craft iconic structures like the Sena Kalyan Bhaban—which redefined Dhaka’s skyline—and Mirpur’s National Stadium, among many others. In Bangladesh, Mesbah-ul-Kabir’s name is synonymous with architectural excellence. Yet, he always reminds fellow architects that the learning process never truly ends. He laments that only a handful of his peers still embrace the hands-on method of constructing scale models with simple, analog tools—a practice increasingly eclipsed by computerization. “I purposely avoid relying on computer software,” he explains firmly. “By drawing perspective sketches and building scale models by hand, I retain total control over my creative process.” He recalls how, during his studies at BUET, a chance encounter with the legendary Dr. Fazlur Rahman Khan left a lasting impression: “When I envision a building, I feel its weight as if it were part of me.” Such experiences underscore the importance of imagination—a quality he fears is slowly being overshadowed by digital methods. Reflecting on his earlier days, Mesbah recounts a time when understanding a client’s desires led to rough sketches, known as ‘functions,’ followed by detailed perspective drawings imbued with vanishing points, horizons, and everyday elements like trees or vehicles. These handcrafted visualizations offered a glimpse of a project’s future long before modern tools like AutoCAD existed. Even the laborious process of constructing scale models gave him a satisfaction akin to a poet reveling in a freshly composed verse. Today, a visit to the Kabir & Associates office in Dhanmondi reveals a gallery of these cherished drawings and models—a living history of a lifetime dedicated to craftsmanship. Despite the encroachment of digital design, Mesbah holds a hopeful vision that emerging architects will rediscover the profound joy of traditional creation. For him, architecture is boundless. “Some choose this profession out of necessity; I embraced it with passion,” he reflects. His academic journey spanned literature, history, physics, mathematics, philosophy, and even music during his time at BUET’s Department of Architecture. Even within the scientific rigors of his field, literature remained a wellspring of inspiration—a force that uplifted him from isolation and exposed him to a vast ocean of creativity. While celebrated for his monumental public works and commercial edifices, some of Mesbah-ul-Kabir’s most treasured designs are the modest homes of the 1970s and 1980s in neighborhoods like Gulshan, Banani, and Baridhara. These projects, though simple, exuded warmth and personality—whether through rooftop gardens, multi-story green spaces, or even rooftop swimming pools—offering a style of luxury living that contrasts sharply with today’s prevalent, box-like apartment blocks. He fondly recalls a whimsical project for the former vice president of Summit Group—a full-glass house in Savar Cantonment. Enchanted by a monsoon season enlivened with blooming red lotuses, the client once declared, “I want to present this glass house to my wife.” When pressed about privacy, particularly in intimate areas and restrooms, he quipped about using curtains, noting humorously that the secluded setting made privacy a minor concern. Notably, Mesbah introduced the curtain wall system on the Sena Kalyan Bhaban for the first time in Bangladesh—a testament to his innovative spirit, which is also reflected in designs for national stadiums and even the previous Gulshan Club. Mosques occupy an especially sacred space in Mesbah’s repertoire. Having designed and refined over a hundred mosques, he approaches these projects not as commercial ventures but as acts of ‘khidmah’ (service)—an opportunity to contribute selflessly to the community. “Designing mosques is both a duty and a passion, a way to express gratitude for the gifts of life and our own abilities,” he explains. His first mosque, the Azad Mosque—more widely known as Gulshan Central Mosque—was a landmark project that spanned nearly 18 bigha and featured striking geometric designs with circles and triangles. Drawing on decades of experience, Mesbah elaborates on the cultural significance of religious structures. While domes, arches, and minarets have transcended their practical origins—minarets, once essential for calling worshippers to prayer, now serve largely symbolic roles—they remain vital in linking a building’s design to its cultural and spiritual roots. Architecture, in his view, acts as the binding force that enshrines ideological meanings across diverse cultures, even as building materials and techniques evolve. The evolution of mosque design is an ever-unfolding process. Take the Baitul Aman Mosque on Dhanmondi Road 7, which began as a humble prayer space enclosed by bamboo fencing. Over time, enhancements like the addition of balconies, multiple floors, and modernized interiors—with steel window frames, marble finishes, and wooden elements—have transformed it into a communal haven that harmonizes with its upscale neighborhood and the nearby natural charm of Dhanmondi lake. For Mesbah, each mosque should feel inseparable from its surroundings, a tribute to both its community and its environment. Today, Bangladesh’s architectural scene is thriving—high-rise, elegant, and meticulously streamlined structures now dot the landscape. Young architects enjoy the profession far more than in earlier times, even as government projects, though commendable, sometimes lack the incentives necessary to retain top talent. Yet, despite these challenges, he remains confident that given the right opportunities and motivations, these architects will
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Exhibitors of Ceramic Expo Bangladesh 2025
The 4th edition of Ceramic Expo 2025 is going to be held from November 27 to November 30, 2025, at the International Convention City Bashundhara (ICCB) in Dhaka. The event is one of the most prestigious and premier B2B events focused on the ceramic finished products of the local manufacturers and foreign companies with new machinery, raw materials and innovation. There will be 40+ local manufacturers of ceramic products, such as tiles, tableware, sanitaryware, ceramic bricks, pottery etc. and 75+ foreign exhibitors from more than 25+ countries along with 300+ brands and 500+ delegates. The local and foreign exhibitors both will enhance the quality and standard of the Ceramic Expo 2025 by showcasing their latest products and innovation. The expo is not only promoting the growth and development of the business but also expanding the opportunities to going global for the business expansion. Written by Preety Dey
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FOSHAN DONGHAI TECHNOLOGY CO. LTD. Ceramic Body Decoration Technology | Digital Powder-Jet System
Digital Powder-Jet System | Precise Alignment, Full-Body Texture Donghai Technology’s Digital Powder-Jet System is an advanced feeding technology that utilizes intelligent control systems and multi-channel coordination to impart vibrant patterns and textures. Each channel carries different colored powder, precisely applying the desired designs through digital nozzles. This advanced technology not only enhances production efficiency but also customizes to meet the diverse clients’ need, showcasing a full-body effect from the surface to the bottom. Digital Powder-Jet System’s Advantages: (1) Superior compatibility, seamless Integration with all types of press, (2) Feeding Channel from 6-12 (optional). (3) High-speed feeding, up to 10m/min, achieving both production and efficiency. (4) High precision and accuracy, with positioning accuracy controlled within 2-3mm. Ceramic Surface Decoration Technics | Dry Applicator Dry Applicator | Digital Grit, Premium Finish Donghai Technology’s Dry Applicator is a specialized equipment used for the surface decoration of ceramic tiles. It mainly through the technology of glue and dry grit. By evenly spreading various dry granular materials on the surface of the tiles, it significantly enhances the decorative effect of the tiles. Its advanced technics technology, bringing brand-new possibilities to the surface decoration of ceramic tiles. Dry Applicator’s Advantages: (1) Perfect combination with ink-jet technology, tile surface with rich effect of concave & convex. (2) Italian imported belt, precise control of grit, feeding uniformity. (3) With heating device, remove the humidity of grit during recycling. (4) With automatic recycling system, grit can be reused. (5) Provide professional process technical support, design effect can be realizable.
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The Story Behind Decathlon Dhaka’s Stunning New Office
In the center of Dhaka’s relentless urban sprawl, Decathlon’s new liaison office has carved out an unexpected oasis. Designed by Studio one zero, the two-floor, 20,000-square-foot workspace is a lively yet calming blend of nature, sport, and smart design — a triumph achieved under the intense pressure of a compressed timeline. One floor of the office is devoted to a sprawling seminar and multi-purpose event space, while the other flourishes as a vibrant open-plan workspace. Together, they embody Decathlon’s global brand ethos: movement, accessibility, and connection to the environment. From the first step inside, the design immediately surprises. Natural light pours in from every angle, with open workstations, informal seating zones, and collaborative spaces stretching toward the glass walls. But what truly distinguishes the space is its deliberate, sensitive incorporation of natural elements into an otherwise urban setting — a concept that chief architect Jafor Hoq and Partner Architect Humaira Binte Hannan at Studio One Zero were determined to bring alive. Challenge Against Time “The biggest challenge for us,” says Jafor Hoq, “was the design decision against time. From the initial concept to execution, we had a very short period. And it wasn’t just about filling a space — Decathlon wanted something meaningful, experiential, and true to their brand spirit.” Working under intense deadlines and changes meant that decisions on materials, layouts, and designs had to be made rapidly but thoughtfully. “We had no time for second-guessing. Every material, every design move had to be purposeful and achievable within the timeframe,” Hoq recalls. Instead of battling the constraint, Studio one zero leaned into it, focusing on a few strong ideas and executing them meticulously. Bringing Nature Indoors — A Different Way While biophilic design is no longer a novelty, Studio one zero’s approach for Decathlon’s office is refreshingly nuanced. Instead of merely placing potted plants in corners, nature was embedded into the structure itself. The most striking feature — the tree-inspired columns — originated from a need to solve a technical problem with artistic flair. Existing structural columns, often seen as obstacles in open-plan offices, were transformed into vertical wooden sculptures. “These columns are not just cladded structures,” Hoq explains. “We intentionally gave them the form of large tree trunks, expanding outward at the top, creating a canopy-like feeling. Under these ‘trees,’ we placed high seating zones, making them natural gathering points where people can sit, stand, and connect. It’s about reinterpreting indoor nature — not just bringing in greenery but evoking the experience of being under a tree.” Materiality: Warmth in an Industrial Frame The material palette reflects a thoughtful balance between modernity and warmth. Light oak wood cladding runs through the flooring of common pathways and wraps around key architectural elements, providing a sense of warmth and continuity. “The idea was to humanize the space,” says Hoq. “We were working with an exposed ceiling — which gives that industrial look — but we didn’t want it to feel cold or impersonal. Using wood, texture and incorporating green , was the answer.” Meanwhile, the furniture choices favored light-colored wood and clean lines to complement the architecture without overwhelming it. Lush green walls filled with planters further softened the industrial base, offering breathing spaces that look and feel alive. Even the lighting played into the natural narrative. Angular, dynamic geometric light fixtures, seemingly random yet deliberate, mimic dappled sunlight filtering through tree canopies, casting a playful rhythm of light and shadow across the workspace. Functionality at the Core Of course, Decathlon’s office needed to be more than beautiful; it needed to work. Beyond the seminar space and open workstations, Studio One Zero integrated a variety of amenities including a gym, prayer rooms, a sick room, and a restaurant-style café. The café, with its relaxed seating and natural materials, encourages casual interaction — a deliberate attempt to break down formalities and foster an easy, collaborative culture. Flooring materials shift subtly from wood to textured carpet tiles to indicate different zones without physical barriers, preserving the openness. Every design choice speaks to movement, flexibility, openness and wellness — values at the heart of both Decathlon and Studio one zero’s architectural philosophy. A Space That Moves People In the end, Decathlon’s Dhaka office is more than a workplace. It’s a living, breathing environment, where the boundaries between indoor and outdoor, formal and informal, structured and free-flowing, are beautifully blurred. Studio One Zero’s bold vision — executed under a limited timeframe — has resulted in a space that isn’t just seen; it’s felt. A place where employees can experience the spirit of sport, the calm of nature, and the excitement of innovation, every single day. “We didn’t just design an office,” Jafor Hoq smiles. “We designed an experience.” Written By Fatima Nujhat Quaderi Photo: Truphoto Studio
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Rickshaw Art A Living Canvas of Culture and Tradition
Dhaka’s wheel The rickshaw is the quintessential three-wheeler of Dhaka. If one were to encapsulate the spirit of the city with a single vehicle, it would undoubtedly be the rickshaw. Even in an era dominated by modern transport and ride-hailing services, the rickshaw remains a beloved tradition. Riding in a rickshaw, one can experience a serene immersion in nature—a reflective calm—despite the bustling chaos of Dhaka outside. More than a means of transport, rickshaws are mobile masterpieces. Handcrafted by skilled artisans, they feature oil paintings adorned with vibrant floral patterns, birds, animals, movie stars, and scenes from folk tales, effectively transforming the streets into a roving gallery. On December 6, 2023, UNESCO recognized Bangladesh’s rickshaw art as part of the Intangible Cultural Heritage of Humanity—a distinction that has gripped global attention and sparked renewed domestic interest. Galleries across the country are now hosting exhibitions to celebrate this unique cultural tradition. History throughout The three-wheeled rickshaw has been a part of Bangladeshi life since the 1940s. By the late ‘40s, decorative elements such as movie star portraits and intricate floral designs began to appear, heralding the birth of what is now known as rickshaw art. Originating in Rajshahi and Dhaka, this art form evolved with each district contributing its own unique stylistic influences. Artist Syed Ahmad Hossain has been a devoted practitioner of rickshaw art since 1969. A self-taught talent, his works have not only graced exhibitions around the world but also served as a visual chronicle of his era. During the Liberation War, for instance, he vividly captured scenes of conflict on rickshaws, transforming them into moving narratives of historical events. In 1975, political unrest led to fears of a ban on rickshaw painting, prompting many artists—including Syed—to shift their focus to signboard painting. Concurrently, rising religious sensitivities rendered the portrayal of human faces and film scenes controversial, ushering in a new era where artists gravitated toward universally acceptable subjects such as trees, animals, and nature. Gradually, human faces were replaced with symbolic imagery that communicated profound stories without uttering a single word. Syed recalls a time when cheap, mass-produced prints of rickshaw art flooded the market, selling for merely 60–70 taka. Although these replicas lacked the detail and artistry of the originals, their affordability made them popular. This oversaturation, however, contributed to a devaluation of authentic rickshaw art. During Pohela Boishakh, rickshaw art transforms from vehicle decoration into a marketable commodity. Artisans create posters, canvas prints, postcards, and figurines that feature iconic rickshaw designs; these items are cherished as souvenirs, home décor, or thoughtful gifts. Such initiatives underscore the collective effort required to preserve and celebrate this cultural tradition. Wheels got heavier! Today, the art of hand-painted rickshaws teeters on the brink of extinction. The rise of motorized rickshaws—lacking the space for detailed artwork—and the advent of digital printing have contributed to its decline. With only a few traditional rickshaw artists remaining, there is growing concern that this vibrant form of pop art may be lost. Innovative artists are finding new expressions for rickshaw art beyond the vehicles themselves. Syed, for example, has successfully translated this living art onto handcrafted items like hurricane lamps, trunks, and portraits. Meanwhile, contemporary artists like Hanif Pappu express worry over the waning interest among the younger generation, who are often discouraged from pursuing this craft due to its limited financial rewards. Photo: UNESCO, DBF, Courtesy Written by Fariha Hossain
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Materials Symposium: Pioneering the Future of Materials Science Through Innovation and Collaboration
With the aim of connecting academia and industry, the Bangladesh University of Engineering and Technology (BUET) hosted the Innovation in Materials Research – Connecting Industry and Academia (IMR-CIA 2025) symposium on February 22, 2025. The one-day event, held at BUET’s Academic Council Auditorium, brought together leading scientists, engineers, and industry pioneers to explore advancements in materials science and their real-world applications. Chaired by Dr. Fahmida Gulshan, Professor, Department of Materials and Metallurgical Engineering, BUET and co-chaired by Dr. Muhammad Hasanuzzaman, Associate Professor, Department of Nanomaterials and Ceramic Engineering, BUET, the symposium was organized by a distinguished committee of Materials Research Centre, BUET, composed of experts in the field of materials science. The chief patron of the organization is Prof. Dr. A.B.M. Badruzzaman, Vice-Chancellor, BUET. The symposium was presided over by Dr. Fahmida Gulshan. It commenced with a welcome speech by Dr. Muhammad Hasanuzzaman. Prof. Dr. A.B.M. Badruzzaman, gave his speech as the chief guest. A plenary speech was then delivered by Prof. Dr. A.S.M.A. Haseeb, Head, NCE, BUET, Bangladesh. The event featured experts from both academia and industry, who shared insights on the latest breakthroughs in materials science, manufacturing innovations, and strategies to foster collaboration between research institutions and corporate enterprises. The symposium focused on four major themes, each representing a crucial area in modern materials research: Steel: With sustainability in focus, discussions delved into emerging high-strength steels for automotive and construction applications, innovations in steel recycling and green steel production, and advanced corrosion-resistant coatings. Ceramics, Glass, and Cement: Industry leaders highlighted advancements in energy-efficient manufacturing, AI-automated process optimizations, product diversification and waste utilization strategies for economic and environmental benefits. Semiconductors: With the global chip shortage still a concern, speakers discussed the challenges in semiconductor scaling, the role of advanced materials in next-generation electronics, and sustainable manufacturing practices. Additive Manufacturing: Experts showcased breakthroughs in 3D printing for industrial applications, material characterization, and AI-enhanced manufacturing processes, emphasizing its potential to revolutionize supply chains. Renowned experts from leading organizations and academic institutions delivered keynote speeches on groundbreaking advancements in materials science and manufacturing. They were – from Intel Corporation. USA – Dr. Zakir Ahmed, Research Scientist, Intel Labs; Dr. Md Waliullah Khan Nomani, PTD Module and Integration Yield Engineer, PTD; Dr. Shaestagir Chowdhury, Principal Engineer; Dr. Syed Samsul Amin, Principal Engineer & Packaging Architect. Other honorable speakers included Dr. Kafil M. Razeeb, Principal Scientist and Team Leader, Tyndall National Institute – Cork University, Ireland; Prof. Dr. Syed Ansar Md. Tofail, Head, Physics, University of Limerick, Ireland; Mr. Mohammad Zahirul Hoque, Director, Q.C. Metallurgical Laboratory, Inc, IOWA, USA; Dr. Ehtsham-Ul Haque, Assistant Professor, Dept. of Physics, University of Limerick, Ireland; Dr. Nazmul Alam, Principal Research Scientist (Retd.), CSIRO, Adjunct Professor, RMIT University, Australia; Dr. Md Zakaria Quadir, Associate Professor, School of Civil and Mechanical Engineering (CME), Curtin University, Australia; Dr. Qumrul Ahsan, Vice-Chancellor, University of Asia Pacific, Bangladesh; Dr. Sheikh Manjura Hoque, Head, Materials Science Division, Atomic Energy Commission, Bangladesh. The symposium also hosted specialized panel discussions featuring leading academics and industry professionals in the steel, ceramics, semiconductor, additive manufacturing fields. Steel Industry Panelists included Dr. Sazzad Ahmed, Associate Professor, MME, CUET, Bangladesh and Mr. Md. Saiful Islam, Deputy General Manager, Research and Development, GPH Ispat Limited, Bangladesh. From Semiconductor Industry Panel, Dr. Mainul Hossian, Associate Professor, EEE, DU, Bangladesh and Dr. Kafil M. Razeeb, Principal Scientist and Team Leader, Tyndall National Institute-Cork University, Ireland gave their speech. Additive Manufacturing Panelists included Dr. M. Tarik Arafat, Head, BME, BUET, Bangladesh, Dr. Md. Jalal Uddin, P. Eng., Director, BITAC, Bangladesh, Dr. Md Zakaria Quadir, Associate Professor, School of Civil and Mechanical Engineering (CME), Curtin University, Australia. The Ceramics Industry Panelist was senior journalist Mr. Anwar Haq, Head of Brand, Communication & Corporate, Pa-Wang Ceramic Industry Ltd., Bangladesh. And, the Entrepreneurship Panel was comprised of Engr. Md. Fahim Rahman, Head of Operations, METTALLIED, Bangladesh. The symposium also served as a platform for young researchers, with a competitive poster competition drawing entries from students across multiple disciplines. The top ten posters received recognition awards, while the top three submissions were awarded BDT 25,000, BDT 15,000, and BDT 10,000, respectively. This initiative provided an incredible opportunity for young researchers to showcase their work and gain insights from seasoned professionals into the evolving landscape of materials science. A recurring theme of the symposium was the urgent need to strengthen partnerships between industry and academia. Speakers emphasized that collaborative research, workforce development, and industry-driven projects are crucial to accelerate technological progress. Case studies from companies like Intel Corporation and GPH Ispat Ltd. demonstrated how industry collaborations have turned theoretical research into practical applications. With its blend of insightful discussions, expert panels, and student engagement, IMR-CIA 2025 successfully established a precedent for future collaborations between academia and industry. At its core, this was more than just a symposium—it was a call to action for the next generation of innovators. Speakers emphasized the need for young minds to embrace cutting-edge technology, think beyond conventional boundaries, and actively contribute to scientific advancements. By fostering collaboration between industry and academia, the event aimed to create an ecosystem where students, researchers, and professionals can work together to drive transformative change in materials science and engineering. As Bangladesh moves toward an innovation-driven economy, the knowledge shared at this symposium is expected to play a crucial role in achieving sustainable advancements in materials science and manufacturing. Written By Anonno Aziz Nibir
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The state-of-the-art pavilions draw huge crowds at DITF-2025
With a view to attracting local and foreign visitors, the exhibitors of the month-long 29th Dhaka International Trade Fair (DITF)-2025 brought innovative architectural view at their pavilions and stalls made of various materials such as steel, board, wood, bamboo, electric cables, lights, colour and ceramic items. Chief Adviser to the Interim Government Prof Dr Muhammad Yunus inaugurated the fair at the Bangladesh-China Friendship Exhibition Centre in Purbachal, Narayanganj on 1 January, 2025. Commerce Adviser Sk Bashir Uddin and Export Promotion Bureau (EPB) Vice-Chairman Md Anwar Hossain also attended the opening ceremony. This year, 343 domestic and foreign companies took part in the fair, including 11 companies from India, Pakistan, Turkey, Singapore, Indonesia, Hong Kong and Malaysia in addition to Bangladesh. Last year, 304 companies participated in the fair, including 9 foreign companies from 5 countries. The companies set up premium pavilions, mini pavilions, and reserved pavilions at the fair venue to display various products including textiles, furniture, electrical and electronics, jute and jute products, leather products, machineries, cosmetics, home furnishings, toys, stationery, crockery, plastics, melamine, herbal and toiletries, imitation jewellery, processed food, fast food, and handicrafts. Of them, many exhibitors also offered discounts ranging from 5 to 50 per cent as well there to attract more buyers. The Ministry of Commerce and EPB have organised DITF since 1995 to promote export growth and market diversification. This is the third edition at its new venue in Purbachal, following the relocation from Sher-e-Bangla Nagar in 2022. Pavilions and stalls were awarded due to innovative architectural view The best pavilions, stalls and organizations participating in various categories were recognized by presenting crests at the closing ceremony of the fair. The first prize was awarded to 22 best companies in different categories (Kiam Metal Industries Limited, Akij Plastics Limited, RFL Plastics Limited, Prisons Department, Pran Agro Limited, M/s. Helal & Brothers, Sena Kalyan Sangstha, JDPC, BGMEA, BKMEA, Hatil Complex Ltd., Jamuna Electronics & Automobiles Ltd., Navana Furniture Limited, Vision Electronics, SME Foundation, BSCIC, Orijinal Istanbul Kristal, Turkey, Pentel (Singapore) PTE Ltd., Singapore, Kewpie Malaysia SDN, BHD, Malaysia, Sonali Bank PLC, Islami Bank Bangladesh PLC and People’s Leather Industries. The second prize was awarded to 16 companies in different categories (Savoy Ice Cream Factory Ltd., Square Food & Beverage Ltd., KY Two Tone Ltd., Alloy Aluminum Furniture Limited, Exclusive Home Tex Industries Limited, Bangladesh Machine Tools Factory Limited, Bangladesh Tea Board, Nadia Furniture Limited, Minister Hi-Tech Park Limited, Brothers Furniture, Hatim Steel Structure Limited, JMG International, Hadeks Hali DeriTekstil Dis Tic A.S., Turkey, PT Nissin Foods, Indonesia, Rabab Trading International, Hong Kong and Dutch Bangla Bank PLC. The third prize was awarded to 13 companies in different categories (Delhi Aluminium Factory, Abul Khair Milk Products Limited, SKB Stainless Steel Mills Limited, Abdul Monem Limited, BRB Cable Industries Limited, Leathergoods and Footwear Manufacturers and Exporters Association of Bangladesh, Rangpur Metal Industries-Regal Furniture, Walton Hi-Tech Industries PLC, Joyita Foundation, Messrs. Nurul Textile, M/S Tarique Carpet Industries, Indian Carpet Industries, and Indian Oriental Carpet, India). Touhiduzzaman, Deputy General Manager [Public Relations] PRAN-RFL Group said, “We have a lot of products like food stuffs, plastics items, furniture, and electronics. We display the products for customers at the exhibition every year. We receive the best pavilion awarded each year due to innovative architectural view.’ He pointed out that they always try to build their pavilion at the fair venue with excellent architectural views in new shapes to draw large crowds. “As there is a limited space and it is a temporary place, so we build our stalls considering it. After getting tender from the EPB, we talk to different firms of interior designers and architects. Basically they set up the pavilion as per our direction,” he added. Touhiduzzaman stated that the stalls are set up by different construction materials like wood board, steels, tiles, bricks and others. He remarked that their main goal is to attract more customers. We decorate our stalls focusing our products. We will try to make the best pavilions in coming days as well,” he also commented. Mahin Sarker, Pavilion In-Charge of Square Food & Beverage, noted that their stall has been a hotspot for visitors due to excellent architectural views. Our pavilion got the second best pavilion award this year. “We offered up to a 50% discount on our food and beverage items, so a lot of people purchased our products. Additionally, as our company set up an attractive pavilion so visitors drew largely here,” he added. Another a-three day fair only for exportable items in October/ November Talking to the Ceramic Bangladesh, CEO and Vice-Chairman of the EPB Md. Anwar Hossain said they tried to bring excellent architectural view in the DITF-2025. At the first time, we introduced innovative features and enhance the fair’s experience for visitors, particularly after the historic student-led revolution on 5 August, 2024. “We introduced new attractions like the 36-July Chattar and Mugdha-Sayyed Corner to showcase the revolution’s impact. Additionally, visitors enter the fair with e-tickets, eliminating the hassle of manual ticket collection.” Hossain emphasised the fair’s role in supporting local businesses and diversifying products to boost foreign currency earnings. “We invited many ceramic companies but they did not give positive response in the fair. We hope that in the next year fair, we can attract many ceramic companies in the expo as it is the potential and exportable products. “We try to organize another a-three day expo at the first time at Purbachal venue in October or November where only exportable products will be displayed. It will help to attract more foreigners. We have no actual data on foreign visitors that how many foreign visitors visited the DITF-2025 and export orders too but many foreign visitors came here,” he highlighted.
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The Book Launch of ‘Next50: Collective Futures
A significant milestone in shaping Bangladesh’s future was marked today with the official launch of Next50: Collective Futures at BRAC University’s Multipurpose Hall. This landmark publication—the largest edited volume on Bangladesh’s built environment—brings together 81 authors, including many from the Bangladeshi diaspora, to explore the nation’s next five decades of progress, innovation, and connectivity. Spanning 49 chapters across nine major themes, the book examines urban and rural transformation, infrastructure, climate resilience, housing, governance, and technological innovation. Written in accessible language for policymakers, practitioners, and the general public, it bridges cutting-edge research with real-world impact, making complex ideas actionable for those shaping the nation’s future. The event was attended by some of Bangladesh’s most prominent architects, planners, and urbanists from both academia and professional practice. Distinguished guests included Dr. Syed Ferhat Anwar, Vice-Chancellor of BRAC University, and Mohammad Azaz, Administrator of Dhaka North City Corporation, who underscored the urgency of visionary thinking in driving sustainable and inclusive development. The program featured a compelling book introduction by Professor Fuad H. Mallick, Editor-in-Chief of Next50 and Dean of the School of Architecture and Design at BRAC University, followed by an insightful review from Dr. Mohammed Zakiul Islam, Professor at BUET, who highlighted the book’s interdisciplinary approach and its relevance to Bangladesh’s rapidly evolving urban landscape. Adding to the discussions, key stakeholders, including representatives from Shah Cement, reflected on the private sector’s role in shaping the built environment. The event concluded with remarks from the book’s executive editors, Dr. Tanzil Shafique and Dr. Saimum Kabir, who emphasized the collaborative effort behind the publication and its potential to influence future policies and practices. Shah Cement also expressed interest in future collaborations. Beyond the discussions, the launch served as a key networking platform for scholars, policymakers, and industry leaders, fostering dialogue and collaboration on the country’s long-term development. Attendees engaged in meaningful conversations over Iftar and dinner, reinforcing the event’s role in strengthening professional and intellectual ties. Organized by Open Studio and Context BD, with support from Shah Cement, the event also reached a wider audience through a live stream, ensuring broader engagement with the book’s mission.
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Rabiul Hussain in Architectural Narratives
On February 28, 2025 Bangladesh Institute of Architects (IAB) and the Bangladesh Liberation War Museum organized a day-long program to tribute architect Rabiul Hussain through visiting 3 of his projects- Bangladesh Agricultural Research Council (BARC), Jalladkhana Killing Ground and Jahangirnagar University. and taking a vow to protect the diversified works of the architect. Architect Rabiul Hussain (January 31, 1943 – November 26, 2019) was a prominent Bangladeshi architect, poet, art critic, short story writer, essayist, and cultural activist. A person of multifaceted talent, honored by the Government of Bangladesh with the Ekushey Padak for his contributions to language and literature in 2018, received the Bangla Academy Literary Award for his contributions to poetry in 2009, and the Bangladesh Institute of Architects (IAB) awarded him the Gold Medal for his outstanding contribution to architecture in 2016. He served four times as the President of the Bangladesh Institute of Architects, Vice-Chairman of the Architects Regional Council of Asia (ARCASIA), Vice-President of the Commonwealth Association of Architects, and President of the South Asian Association for Regional Cooperation of Architects. In addition, he was a trustee of the Liberation War Museum, an executive member of the 1971 Ghatok Dalal Nirmul Committee (Committee for Elimination of Martyrs’ Assassination), and made significant contributions to the preservation of the memories of the Independent War of Bangladesh. Although he was born in the village of Ratidanga in Shailkupa Upazila, Jhenaidah District, he completed his secondary and higher secondary education in Kushtia District. Later, in 1968, he earned his Bachelor degree in architecture from the then East Pakistan University of Engineering (now Bangladesh University of Engineering and Technology). After obtaining the graduation, he began his professional career as an architect working with architect Mazharul Islam and later joined Shahidullah Associates. Alongside his architectural practice, he also maintained a strong passion for writing. Throughout his career, he served as a life member of the Bangla Academy, and was involved in various organizations, including the Central Kachi-Kachhar Mela (a children’s and youth organization), the National Poetry Council, the Bangabandhu Sheikh Mujibur Rahman Memorial Museum, the International Film Critic Association of Bangladesh, and the Bangladesh Institute of Architects. Notable buildings designed by him include the Jalladkhana(Execution House), the Bangladesh Agricultural Research Council building, the entrance gate of Dhaka University, the Liberation and Independence Arch, the Jahangirnagar University gate, the Bhashani Hall, the Bangabandhu Hall, the Sheikh Hasina Hall, the Khaleda Zia Hall, the Wazed Mia Science Complex, the auditorium and academic building complex of Chittagong University, and alongside architect Mazharul Islam, the Bangladesh Agricultural Research Institute in Gazipur, Haji Mohammad Danesh Science and Technology University in Dinajpur, and polytechnic institutes in Chittagong and Khulna, among others. Bangladesh Agricultural Research Council (BARC) The Bangladesh Agricultural Research Council (BARC) was established in 1973 with the aim of conducting agricultural research and coordinating various related institutions in Bangladesh. Almost a decade after its founding, in 1982, architect Rabiul Hussain designed its current building. The design process, which began in 1978, spanned nearly four years. In a remarkable way, he crafted a unique architectural design using red brick masonry that harmonized with Bangladesh’s climate, nature, and way of life. This building is a symbol of post-independence architecture, reflecting a search for an architectural style; that is free from the burden of colonization in a newly liberated land. Each detail of the building echoes the same vision. The regional architectural influence of Maestro Mazharul Islam, the pioneer of Bangladesh’s regional architecture, is evident in the design, which he was fortunate to experience starting from his third year of architectural education. The building, located on a site shaped like the letter ‘L’ in the English alphabet, is easily noticeable among surrounding roads and structures. It stands at the junction of Airport Road and Khamar Bari Road, near Farmgate and Bijoy Sarani. The design symbolizes various aspects of aesthetic gravity, marking an early effort in the evolution of post-independence Bangladeshi architecture and the search for a Bengali “identity” in the country’s-built environment. The location of the building, near the capital’s main international airport at Tejgaon, limited the building’s height to four floors. The rectangular building, measuring 223 feet in length and 63 feet in width, has a total built-up area of 32,700 square feet. It is aligned along the east-west axis and is equipped with optimal provisions for cross-ventilation and prevailing south winds. The three-story building is vertically divided into three functional zones. The first floor is allocated for administrative offices; the second floor houses the executive branch. The third floor features a 7,500-square-foot conference room with seating for 280 people at its center, along with a 1,350-square-foot library and a meeting room. The first and second floors are organized along a double-loaded corridor, with two staircases at the eastern and western ends of the building. In harmony with local traditions, the roof was projected to protect the building from torrential rain and scorching sun. The BARC building essentially consists of two parts: one is the brick-clad inner shell that spans the main area, while the additional levels moderate the harsh tropical sun and protect the building during the monsoon season. Architect Mazharul Islam’s office- Vastukalabid was a key influence in experimenting with such a critical combination of climate consideration and modernist aesthetics along with that of brick mason for architect Rabiul Hussain and many young architects in the early 1970s. To give an example, his designs, including the National Institute of Public Administration (1964), encouraged a generation of architects to explore “critical regionalism” through a lens that considered climatic aspects in the visual language of architecture. Since stone is rare and fired bricks can be produced in abundance from local clay, architects saw bricks as an unprecedented symbolic representation of the delta and its culture. Representing the soil of the riverine country, bricks were the purest or most organic building material believed by the Bangladeshi architects. The “poetry” of bricks is hard to miss in the concept and construction of the BARC headquarters building. Also, the influence of
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Next-Gen Real Estate Summit: A Brilliant Showcase of Talented Youth
To discuss the development and future prospects of the real estate sector, the Department of Real Estate, Daffodil International University organized the “Next Gen Real Estate Summit 2025”. This grand summit took place on February 23 and 24 at the Ashulia campus of Daffodil International University, where key figures from various government and private organizations were present. Representatives from BUET, RAJUK, House Building Finance Corporation, REHAB, the National Housing Authority (NHA), and various other industrial institutions participated in the event. The two-day summit featured formal sessions, cultural programs, and a Mezban feast. The formal session was held at the International Conference Hall of Daffodil International University, where expert speakers discussed the future development of the real estate industry and the importance of sustainable housing. The panel discussion was attended by Professor S. M. Mahbub Ul Haq Majumder, Pro Vice-Chancellor, Daffodil International University; Professor Mustafa Kamal, Dean of Academic Affairs; Professor Mohammad Masum Iqbal, Dean of the Faculty of Business & Entrepreneurship; M. Mahbubur Rahman, CEO of Rupayan City Uttara; Md. Mobarak Hossain, Director, REHAB; Kamrul Hasan, Deputy Town Planner, RAJUK; and Md. Golam Mostafa, Deputy General Manager and Chief Engineer, House Building Finance Corporation. The welcome speech at the conference was delivered by Dr. Amir Ahmed, Head of the Real Estate Department at Daffodil International University. A lively cultural event took place at the Student Lounge and the Independence Conference Center, while the Mezban feast was held at Golap Gram. One of the main attractions of the summit was the Poster Presentation Competition. The theme of the competition focused on innovative ideas in the real estate and housing sector, which are expected to play a crucial role in improving future living standards. A total of 10 teams from Dhaka University, CUET, Khulna University, Jahangirnagar University, KUET, and Daffodil International University participated in this competitive event. Each team consisted of two members from the Urban Planning, Architecture, Civil Engineering, and Real Estate departments of their respective universities. Participants presented their research-based ideas, designs, and plans for the future development of the real estate sector. At the end of the competition, the judges selected the top three teams as winners. The judging panel consisted of Nizam Ahmed, Major General (Retd.), Engineer Mujahid Monir, Major (Retd.), and Anwar Haque, Senior Journalist and Brand Communication & Corporate Head of Pa-Wang Ceramics. The first-place winners were jointly Mirajul Islam Alif and Tasnuha Pasha Tonu from Daffodil International University, and Abrar Muhtasim Pathan and Souda Samiha from Khulna University. The second-place winners were Fauzan Anowar and Fathan Anowar from Daffodil International University. The third-place winners were Minhazur Rahman Shafin and Hamim Mubtasim from Dhaka University. At the award ceremony, the distinguished guests highly praised the participants’ innovative ideas and creativity, wishing them success in their future research and development efforts in the housing sector. Dr. Amir Ahmed, Head of the Real Estate Department at Daffodil International University, stated that competitions like this inspire students to engage in new ideas and research. He added that the application of technology and innovative concepts in the real estate industry will play a vital role in the future development of housing systems. The “Next Gen Real Estate Summit 2025” was not just a conference; it served as an open platform for discussions on the role of technology in future urban planning and the real estate sector. Experts believe that student participation, research, and innovative presentations will open new horizons for the development of the real estate industry. Written by Anonno Aziz Nibir
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‘The Story of Art’ exhibition: Of art and altruism
Organized by Dhaka Storytellers from February 8 to February 13, the lush gallery space Aloki Greenhouse in the capital’s Gulshan hosted an exhibition titled The Story of Art. The exhibition boasted a stunning collection of 80 to 90 artworks, captivating audiences for a week. Curated by Syeda Adiba Hussain, co-founder of Dhaka Storytellers, The Story of Art was more than just a display of artistic excellence. This was Dhaka Storytellers’ second art event, following the charity exhibition Art for Charity in August 2024. In the same vein, The Story of Art supported a larger cause, with a portion of the proceeds donated to five schools and one college in Sylhet, demonstrating the power of art to create tangible change beyond gallery walls. Beyond the beauty of its displays, the exhibition underscored the immense power of art to inspire and drive change. By merging artistic excellence with humanitarian efforts, it aimed to uplift communities, empower individuals, and support crucial social causes. Having been in the making for almost a year, the exhibition was carefully planned to bring together some of Bangladesh’s most celebrated artists. The lineup included some of the country’s most notable names, such as Rafiqun Nabi, Monirul Islam, Hamiduzzaman Khan, and Kanak Chanpa Chakma. Furthermore, the exhibition commendably featured artworks by several emerging artists, creating a dynamic collection that bridged generations of artistic expression. From simply beautiful paintings to thought-provoking sculptures, The Story of Art was also an opportunity for both seasoned and budding collectors to acquire unique pieces while contributing to a noble cause. The grand opening on Friday, February 7, set the tone for the week-long exhibition. The launch was attended by an invitation-only audience, including the participating artists, their families, media professionals, and notable guests. As the exhibition drew to a close, it left behind more than just a collection of breathtaking visuals; it also left an indelible impression on those who visited. The fusion of artistic expression with social commitment deeply moved attendees, inspiring them to consider the vast potential of art beyond aesthetics. The exhibition carried a narrative that extended far beyond the gallery walls, reinforcing the idea that art is not merely to be observed but to be experienced, felt, and acted upon. The event was about more than just admiring artworks—it was about creating a shared vision where artists, curators, and spectators all committed to a cause bigger than themselves. It demonstrated that art has the ability to transcend traditional boundaries, reaching into the hearts of individuals and communities, sparking conversations, and inspiring action. Ultimately, The Story of Art was a celebration of creativity’s ability to inspire, connect, and transform lives. The week-long show was a powerful testament to the transformative synergy between art and altruism. It showcased how art exhibitions, when intertwined with a greater purpose, can spark meaningful change. Written By Shahbaz Nahian
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Akij Tableware Announces Bangladesh’s First Food Plating Reality Show, “Art of Plating: Season 2” Offering 20,00,000 BDT in Prizes
Following the overwhelming success and audience acclaim of its first season, Akij Tableware is proud to announce the return of Bangladesh’s first-ever food plating reality show, “Akij Tableware Art of Plating,” with the launch of its second season. The show aims to discover the nation’s most talented food plating artist, with the winner taking home a grand prize of 10,00,000 BDT. In addition to the grand prize, the competition offers substantial rewards for the runners-up. The first runner-up will receive 5,00,000 BDT, while the second runner-up will be awarded 3,00,000 BDT. Furthermore, the top 30 contestants will be honored with a variety of prizes, including crests, certificates, culinary courses, and exclusive dinner sets from Akij Tableware, culminating in a total prize pool of 20,00,000 BDT. Commenting on the initiative, Chief Operating Officer of AkijBashir Group Md. Khorshed Alam shared, “After receiving an enthusiastic response in season one, we have expanded this season to encompass a broader audience, uniting plating artists from all corners of Bangladesh. Our goal is to present the unique culture and storytelling embedded in food plating art to the world and enrich this creative field.” The highly anticipated reality show will be broadcast on NTV, Channel i, and Deepto Television, with availability on popular OTT platform Chorki. Participants are required to submit photos of their best food plating through the official website. From there, experienced and renowned chefs will select the top 30 contestants based on their creativity and skills, providing them with the opportunity to showcase their talents on national television. At a press conference held on Tuesday, February 4, 2025 at a renowned hotel in the country, the chief judge of the show Chef Daniel C. Gomez, Head of Marketing of AkijBashir Group Md. Shahriar Zaman, and Chief Operating Officer of the company Md. Khorshed Alam, and officials of Akij Tableware were present. They shared insights into the upcoming season, underscoring its mission to celebrate food plating as an art form and provide a platform for local talent to shine on a national stage.
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Celebrating 5 Years of Success
The soft glow of chandeliers illuminated the polished ceramic tiles as industry leaders, architects, and innovators gathered at the Sheraton Hotel in Dhaka. The air was filled with excitement as enthusiasts and professionals came together to celebrate the 5th anniversary of Ceramic Bangladesh Magazine. The event, styled “Shaping Bangladesh: Designing Tomorrow, Building Today,” was more than just a conference — it was a call to action for Bangladesh’s construction, real estate, and ceramic industries to embrace sustainability, innovation, and resilience. This milestone event marked a significant achievement for the publication, which has become a cornerstone of the ceramic industry in Bangladesh. Held on 30 January 2025, the event brought together experts to discuss the evolving landscape of architecture, engineering, and sustainable building materials. From leading ceramic manufacturers to top architects, the gathering aimed to chart a vision for a greener, more efficient Bangladesh. Preparing for the Future and Post-LDC Impact One of the central themes was Bangladesh’s upcoming graduation from its least-developed country (LDC) status in 2026. Chief guest SK Bashiruddin, Commerce Adviser to the interim government, emphasised the need for businesses to prepare for the challenges ahead. “In the coming years, Bangladesh will face numerous challenges following the LDC graduation. Innovation is crucial for progress. Corruption and bureaucratic complexities have hindered business growth over the past 15 years, but our focus should be on sustainability to foster industrial growth,” he said. He called for collaboration among stakeholders to lower operational costs, innovate, and create a more business-friendly environment. He acknowledged the ceramic industry’s contributions, commending entrepreneurs for their innovative products that enhance both aesthetics and functionality in modern infrastructure. Special guest, RAJUK Chairman Major General (retd) Mohammad Siddiqur Rahman Sarker, stated that even 100-storey buildings would be permitted if built in an environmentally friendly manner. Hence, the DAP (Detailed Area Plan) is being amended. The seminar commenced with a grand welcome address by Mr. Irfan Uddin, the Editor-in-Chief of Ceramic Bangladesh Magazine, who reflected on its journey over the past five years. He expressed gratitude to the readers, contributors, and industry partners who have supported the magazine’s mission to promote and celebrate the country’s ceramic industry. Innovation & Sustainability in Construction The event featured two thought-provoking panel discussions. The first session, “Innovation for a Sustainable Future: Exploring Material Innovations & Sustainability,” moderated by Dr. Amir Ahmed, Associate Professor and Head of the Department of Real Estate at Daffodil International University, focused on cutting-edge sustainable materials and circular economy principles in the real estate and construction sector. The second session, “Building a Greener Future: The Role of Sustainability in Architecture,” led by Architect Zannat Jui, explored green building certifications, passive design strategies, and the role of technology in climate-resilient infrastructure. Several notable speakers included esteemed professors and architects, such as former BUET Prof. Dr. M Shamim Z Bosunia, Architect Prof. Abu Sayeed M Ahmed, Ar. Prof. Rafiq Azam, Ar. Jalal Ahmed, Ar. Nazli Hussain, Ar. Bayejid Mahbub Khondker, Ar. Didarul Islam Bhuiyan Dipu, Ar. Khondoker Asifuzzaman Rajan, RAJUK Chief Engineer Mohammad Nurul Islam, Engr. Shamsul Alam, Executive Director (Design) of Concord Real Estate Limited Ar. Faisal Ahmed, Managing Director of BTI Engr. Faizur Rahman Khan, Chief Operating Officer of AkijBashir Group Mohammad Khourshed Alam, Chief Operating Officer of Meghna Ceramics Industries AKM Ziaul Islam, Director of GPH Ispat Salehin Musfique Sadaf, Chief Business Officer of Metrocem Cement Ltd. Asadul Haque Sufyani, Consultant of Khadim Ceramics Babor Hossain, and Senior Vice President of BCMEA Mohammad Mamunur Rashid emphasized on the vital role Ceramic Bangladesh Magazine has played in showcasing architectural innovations. Ar. Professor Rafiq Azam, the Principal Architect of SHATOTTO Architecture for Green Living, and Ar. Professor Dr. Abu Sayeed M. Ahmed, the President of the Institute of Architects Bangladesh (IAB), delivered two distinct keynote speeches titled “The Art of Social Changes” and “Reviving the Roots: Conservation and Restoration Progress in Bangladesh,” respectively. Chief Operating Officer (COO) of AkijBashir Group Mohammad Khourshed Alam said the crisis of gas and electricity is the biggest challenge for industries in the country right now. Gas is crucial for the ceramic industry’s development. “However, we have to focus on solar energy to continue industries. Technology adaptation should be focused as well,” he added. AKM Ziaul Islam, Chief Operating Officer (COO) of Meghna Ceramic Ind. Ltd, said the ceramic industry has huge opportunities. There is a need to increase the interaction between industries and academia. Salehin Musfique Sadaf, Director of Strategy & Transformation at GPH Ispat, emphasized that Bangladesh lacks sufficient raw materials to meet its demands. He pointed out that energy sources such as gas or coal are also considered raw materials. Therefore, the country must focus on adequate coal as a locally cheaper energy source and adopting recycling methods to increase the use of recycled construction materials. He stressed the importance of research and development (R&D) in achieving these goals. Role of the Ceramic Industry BCMEA President Moynul Islam reiterated the ceramic industry’s commitment to sustainability, highlighting the need for government support and private sector collaboration to foster long-term growth and global competitiveness. Industry leaders stressed the need for increased research and development (R&D) in using recycled construction materials and ensuring sustainable building practices. As Bangladesh moves toward rapid urbanisation and economic transformation, “Shaping Bangladesh: Designing Tomorrow, Building Today” underscored the need for innovation, sustainability, and resilience. The discussions at the event served as blueprints for a more sustainable Bangladesh. Moynul Islam also said, “Bangladesh’s upcoming LDC graduation in 2026 presents many challenges for the local ceramic industry. With the loss of preferential market access, export tariffs are likely to increase, making our products less competitive in global markets. In addition, imports will also increase due to trade liberalization and FTAs in the post-LDC period. To maintain our position, we must focus on innovation, quality enhancement, and cost efficiency. Strengthening partnerships, investing in modern technologies, and adopting sustainable practices will be key to navigating this transition and positioning Bangladesh as a trusted ceramic exporter in the region.” Sustainability Efforts Mohammad Mamunur Rashid, Senior
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Made in Bangladesh Built for the World X Ceramics’ Trailblazing Legacy
For over a thousand years, ceramics have shaped civilizations—gracing grand palaces, elegant table settings, and timeless architectural masterpieces. Once a symbol of affluence, these exquisite creations gradually became integral to daily life. Like the rest of the world, Bangladesh embraced ceramics. For years, the country relied on imports to meet its growing demand. But that era is now history. Today, Bangladesh’s ceramic industry stands strong, catering to domestic needs and expanding its footprint in international markets. A Market Leader in Innovation The ceramic sector thrives on three key pillars—ceramic tableware, tiles, and sanitaryware. Among the pioneers driving this evolution is X Ceramics Limited, a company synonymous with innovation and excellence. A subsidiary of Index Group, X Ceramics has played a vital role in positioning Bangladesh as a key player in the global ceramics market. Founded in 2009 by visionary entrepreneur Mahin Mazher. X Ceramics began commercial operations in February 2010 as a Bangladesh-Italy joint venture. From crafting exquisite designs to setting industry benchmarks, X Ceramics continues to push the boundaries of craftsmanship, resilience, and vision. Game-Changing Innovations X Ceramics has been a trailblazer, introducing groundbreaking innovations: Homogeneous 60×60 cm Tiles: Before this, the domestic market mainly featured 30×30 cm and 40×40 cm tiles. X Ceramics pioneered the production of larger homogeneous tiles. Polished Glazed Vitrified Tiles (PGVT): The first company in Bangladesh to introduce PGVT, raising the bar for durability and aesthetics. In 20x30cm tiles x ceramics bring the concept of light, deep and hi liter tiles. Before x ceramics there are concepts of decor & border concept. In 30x45cm tiles x ceramic first introduce digital print tiles. X ceramics is the first company who introduce soluble salt tiles in Bangladesh market. Specialty Tile Ranges: Exclusive collections such as Royal Wall Series, Anti-Slip 30×30 cm, Rock-X Series, Stone Shield, Temp Control Tiles and X Germy Proof—all designed for both functional and decorative excellence. With state-of-the-art manufacturing facilities and a commitment to R&D, X Ceramics has diversified design possibilities and aligned with global architectural trends. Expanding Horizons: Entering the Sanitaryware Market With a stronghold in tiles, X Ceramics is now entering the sanitaryware segment, with commercial production expected to begin in March or April 2025. A Leader in Bangladesh’s Porcelain & Ceramic Tiles Industry X Ceramics is one of the largest porcelain and ceramic tile manufacturers in Bangladesh, focusing on eco-friendly production and customer satisfaction. With cutting-edge technology, it has redefined industry standards, setting a new benchmark for excellence. X Ceramics proudly presents Bangladesh’s first Germi-Proof Jaynamaz tiles, offering 99% protection against harmful germs with advanced antimicrobial technology. Versatility in Design & Durability: Quality That Lasts X Ceramics offers a diverse range of tiles suitable for both residential and commercial spaces. Key features include: Easy to clean Superior durability (lasting over 20 years) Toxin-free composition Weather-resistant, adaptable to extreme conditions Water, moisture, and UV-resistant Sustainability at Its Core Committed to environmentally responsible manufacturing, X Ceramics operates in an industrial zone in Gazipur’s Sreepur Upazila, located nearly 35 kilometers north of Dhaka, the capital of Bangladesh. The company strictly adheres to green practices, including: Rainwater & groundwater conservation Recycling facilities CFC-free cooling systems LED lighting & energy-efficient systems Solar power utilization Workplace Safety & Employee Well-being X Ceramics prioritizes occupational health and safety, ensuring fair wages, timely payments, and employee benefits. The company fosters a responsible work environment with transparency in production. “We are operating a round-the-clock Effluent Treatment Plant (ETP) to minimize the environmental impact and ensure the sustainability of our ceramic production process. By effectively treating wastewater, we aim to protect the local environment while upholding the highest standards of eco-friendly manufacturing,” said Mr Shahturur Rahman, Senior Vice President. “We are also planning to implement recycling initiatives for waste materials. Additionally, heat management is a key concern, and we are exploring solutions to reduce heat emissions in our operations,” he said. The Italian Touch: A Brand Synonymous with Quality X Ceramics is widely recognized as the brand ambassador of Italian ceramic tiles in Bangladesh. After just two years, the company began importing tiles from Italy’s renowned Monika brand, solidifying its position as a premium tile provider in the market. Shaping the Domestic and Export Markets According to Shahturur Rahman, the company prioritizes: Design innovation Quality enhancement Expanded production capacity Research and development Rahman noted that imports are declining due to the current political situation, making locally produced ceramics an increasingly attractive option. “We must break free from the fantasy of using foreign products. Our industry is fully capable of producing ceramics on par with international brands,” he said. The demand for premium-quality tiles has been growing by around 10 percent annually over the past decade, driven by affluent customers. With rising global demand, export opportunities for high-end tiles are expanding. Beyond Business: A Passion for Sports X Ceramics has also made a mark in the sports industry as the proud owner of Sylhet Strikers in the Bangladesh Premier League (BPL), the country’s premier T20 cricket tournament. With an unwavering commitment to excellence, X Ceramics is not just shaping the future of Bangladesh’s ceramic industry but also redefining global standards—one tile at a time. Ceramic Industry Struggles: Urgent Call for Gas and SD Relief Mr Shahturur urged the interim government to ensure a continuous gas supply and to remove the supplementary duty (SD) on local ceramic products to protect the industry. He highlighted that overall production, including that of his company, has sharply declined in recent months due to the ongoing gas crisis. “Challenges such as the gas shortage, price increases, SD, and rising operational costs have severely impacted the ceramic sector, turning it into a struggling industry,” Rahman added. Written By Sajibur Rahman
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Sarah Resort The Evolving Elegance of Journey Beyond a Masterplan
While most architectural marvels begin with a scrupulously crafted masterplan, Sarah Resort took a different path, one of organic evolution. Instead of a rigid blueprint, it grew gracefully, expanding phase by phase through strategic land acquisitions. Nestled in the historic Bhawal Rajabari, Gazipur, just one and half hour drive from Dhaka, the resort is a masterpiece shaped by the creative vision of architect Naim Ahmed Kibria and architect Asia Karim Deepa from the renowned firm Indigenous. The inception of Sarah Resort wasn’t born out of commercial ambitions but rather from a personal desire – to create a retreat for friends and family. Md. Shahadat Hossan, the founder of Sarah Resort, originally owned 1.65 acres of wilderness in Gazipur (where the resort is located now). At the time, the land held nothing but an incomplete structure – mere pillars standing in solitude amidst nature. In late 2015, Md. Shahadat Hossan envisioned transforming this barren space into a gathering haven and set an ambitious goal: to host an event on 16 December, inviting loved ones to celebrate in a newly built retreat. To bring this vision to life, he turned to architect Naim Ahmed Kibria. To meet holiday desires, this initiative from Fortis Group is indeed in a class of its own. “Time was our biggest challenge,” recalls Mr Naim. “We had an incredibly tight deadline, and constructing a structure from scratch was nearly impossible. Instead, we decided to make use of the existing columns and beams.” What followed was a remarkable feat of architecture and determination. Within just one month, the team transformed the skeletal remains into a charming cottage, integrating brick gratings in the roof. The event was a success and everyone loved the cottage which merged effortlessly with the picturesque ambience. The appreciation evoked the desire in Mr Shahadat, to build a resort in the premise so that mass people can enjoy the beauty of the landscape. Md. Shahadat Hossan soon started acquiring neighbouring land, ensuring that every addition felt like a natural extension of the original landscape. The final phase of construction was completed in 2019, expanding the resort from 1.65 acres to an impressive 70 acres, with a built area of 3.21 acres. “It was an extensive project,” says Mr Naim. “We visited the site over 100 times to understand its natural flow, ensuring each expansion felt connected, organic, and immersive.” This fluid, intuitive approach resulted in a resort experience that feels more dynamic than a rigid masterplan could have allowed. We asked the architect what his favourite part from the resort was and he did not take a second to answer: it is the red cottages, arranged along a spiral pathway, forming a shape reminiscent of flower petals when viewed from above. Interestingly, the particular piece of land (where the cottages are located now) once housed an administrative estate of the Bhawal kings, surrounded by a protective moat which was dried up then. Instead of erasing history, the architects revived the moat and built the cottages around it, preserving its essence. Beyond the secluded cottages, Sarah Resort also has a 10-story tower for accommodation, offering a breathtaking panoramic view of the surrounding greenery. “Guests often tell us that waking up in the upper-floor rooms feels like floating in the clouds,” Mr Naim says. One of the most captivating aspects of Sarah Resort is its expansiveness – with nearly 95 per cent of its total area preserved as open space. Rather than altering the landscape drastically, the architects embraced the natural terrain, ensuring that every structure harmonises with its surroundings. Prioritising sustainability and authenticity, they relied predominantly on local materials, reinforcing the resort’s deep-rooted connection to its environment. The architectural philosophy of Sarah Resort bears a striking resemblance to the “Never demolish, always add, from inside out” approach pioneered by Lacaton & Vassal, the renowned French architectural duo. Anne Lacaton and Jean-Philippe Vassal won the 2021 Pritzker Architecture Prize, the most prestigious award in the field of architecture. Other than the aforementioned historic moat, another evidence to this approach is the restoration of the original clay houses found on the property. Instead of replacing them, architect Naim preserved and upgraded these traditional dwellings, equipping them with modern facilities while maintaining their rustic charm. At its core, Sarah Resort embodies an effortless fusion of nature and modern luxury. With an eco-conscious design that meets state-of-the-art facilities, it stands as a family-friendly haven, catering to visitors of all ages. From quaint cottages and restored clay houses to contemporary tower rooms and lodge accommodations, the resort offers a diverse range of stays, welcoming guests from all walks of life to experience its unique blend of heritage, innovation, and tranquility. For those in search of adventure, the resort houses an array of exhilarating activities, including zip-lining over scenic landscapes, boating across natural and artificial lakes, and exploring lush outdoor spaces. Guests looking to unwind can lounge by the swimming pool or take in the serene surroundings from various tranquil garden retreats. “The founder is a passionate sports enthusiast,” adds Mr Naim. “That’s why a significant portion of the resort’s land has been dedicated to outdoor recreation, ensuring guests can engage in a variety of activities while staying connected to nature.” Kaniz F Supriya
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GPH Ispat Revolutionizing Steel Production with Green Practices
GPH Ispat Ltd takes pride in meeting all steel-related needs of its esteemed clients, combining top-notch quality products with unparalleled customer service. As articulated by GPH’s Director (Strategy & Transformation), Salehin Musfique Sadaf, in an exclusive interview to Ceramic Bangladesh, “GPH aims to fulfill all steel-related requirements of its extraordinary clients by offering best-quality products paired with exceptional service.” GPH Ispat Ltd, founded in 2006 and commenced commercial operations in 2008, embodying its guiding principles: God-fearing, Plain living, and High thinking. Conceived by visionary leaders and experienced traders, GPH was established to provide premium-quality steel products to the Bangladeshi market. Since its inception, GPH has relentlessly strived to deliver maximum value to its customers by consistently offering the best steel products available. The company made history in 2020 by introducing the Quantum Electric Arc Furnace—the world’s most advanced process for producing construction-grade steel—marking its debut in Asia. The extraordinary foresight of the founder, Mohammed Jahangir Alam, in establishing this state-of-the-art manufacturing unit, has garnered international acclaim. Industry experts from the USA, Saudi Arabia, and India have visited the facility to replicate its success in their respective countries. GPH has set an exemplary standard in prioritizing people and planet over profit by producing green steel products with minimal greenhouse gas (GHG) emissions. This trailblazing approach to sustainability has established GPH as a benchmark in the steel industry. “I was destined to return to my beloved Bangladesh—settling abroad was never part of the plan. Elevating Bangladesh on global platforms has always been my dream. Of all the sectors in our family business, I chose steel because of its transformative potential. Steel is not only versatile but also has the power to build nations and even reach into space,” shared Salehin Musfique Sadaf. Reflecting on a pivotal moment in 2017, Salehin described a conversation with his father while traveling from Dortmund to Bremen, Germany: “We discussed how developed nations have nurtured industries across generations to sustain their economies. These core industries, alongside their complementary sectors, have matured to surpass even their foundations in profitability. It became clear to me that investing in metals and materials is vital for Bangladesh’s self-reliance and economic resilience. Developing upstream and downstream industries could reduce trade deficits and save significant foreign currency.” At GPH, we produce Steel billets as semi-finished products and 3 different grades of construction grade steel rebar as finished product. Out of 420, 500 and 600 grade rebar, GPH is only able to produce 600 grade rebars in Bangladesh because of its distinct technical capability allowing stakeholders to be able to reduce their consumption while increasing performance. Due to maintaining the highest of the standards GPH was able to export around 125,000 metric tons of steel billet to China which is a net steel exporter country. Along with prime products since last 1 year we have partnered with Leviat Sdn Bhd, a global leader in construction technologies to promote optimized construction techniques and supporting products in Bangladesh. ‘Leviat’ is a part of fortune 500(S&P) company. We also sell medical and industrial grade oxygen and nitrogen to our valuable clients. The people who think about quality will always choose GPH because of its Moral integrity, its capability in utilizing valuable resources more efficiently and obviously visionary leadership behind it. The GPH products not only ensure the best physical property but also ensure the best chemical composition among any other brands. Sulphur and phosphorus being the most challenging elements in any mild steel products, with the help of best technology in steel making only GPH can maintain a proper ratio of these two elements consistently. These are not any claims, this can be easily proven by the test report gained from reputed facilities. When other brands are only being able to match the specification, GPH is passing tests with extraordinary differences compared to others which show our commitment to offer the best products in the market. With the only accredited lab facility in the steel industry, GPH supports stakeholders in realizing their aspirations with pride. The company’s devotion to economic, environmental, and social sustainability is reflected in its operations. For instance, GPH uses 115 kg of steel scrap to produce 100 kg of pure steel, ensuring unmatched quality. In comparison, other brands use only 112 kg of scrap for the same output—a testament to GPH’s pursuit of added purity and customer satisfaction. GPH is capable to produce 1.0 million tonnes of billet and different parts of prefabricated building materials each year. GPH Ispat Limited remains committed to going above and beyond, reshaping the steel industry while upholding its promise of excellence and sustainability.
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Delveinto the kingdom of mountains at Sajek
It’s unlikely not to hear of the name Sajek Valley whenever some tourist spot suggestions pop up these days among Hodophiles. Which makes it one of the most popular tourist spots located in the verdant hills of the Kasalong range of mountains amidst the serene and exotic beauty of nature. Sajek Valley is often referred to as the “Queen of Hills” and the “Roof of Rangamati,” and it has all the right reasons to be titled so. The valley is characterized by lofty mountains, thick forests, expansive grasslands, and miles of winding roads. The Mayni River and Mayni Range must be crossed in order to reach the Sajek Valley. Located in the Baghaichori Upazila of the Rangamati Hill District, the Sajek River, also called the Kasalong River, is the largest union in Bangladesh and divides Bangladesh from India. Sajek Valley, which was previously the scene of insurgencies and is now surrounded by the hills of Mizoram to the east and Tripura to the north, represents Bangladesh’s cultural diversity and encourages people of all ethnic backgrounds to develop tourism there for socio economic advancement. The tribes of the Lusai, Pangkhoa, and Tripura live in Sajek. Here the locals are mostly from Tripura and lusai tribes. The village of Kalank Para, on the last frontier of the Sajak Valley, is inhabited by the Lusai people. Few Chakma also lives nearby. The simple and basic indigenous lifestyle of local people is just fabulous for visitors to spend a good time here. Sajek is now also willing to assist individuals in their pursuit of benefits, whether it be by assisting them in their tourist endeavors or by involving them in them. This is definitely unusual when considering Bangladesh. Unmissable One of the main draws for visitors to Sajek is Konglak Hill. The Lusai community lives in Konglak, the last village in Sajek Valley. From the Konglak Hills, one can witness the origins of the Karnafuli River, the Lusai Hills of India. There is a two-hour journey through Ruilui Para that leads to the Kamalak fountain. This beautiful fountain is also known to many people as Padaam Toisha Jharna or Sikam Toisha Jharna. Whether it’s day or night, Sajek always appears more like a magnificent piece of art made by an artist. One of the wonderful aspects of Sajek is how nature unfolds here in its best forms. A sleek rainbow can often be noticed coming through the piles of clouds right after a good rain. Tourists especially suggested to not miss the dawn. The white clouds and the sunrise/sunset light create an astounding environment to please both the eyes and soul. To see the sunrise, visiting the Hollypad early in the morning is highly recommended. The afternoon’s colour of the setting sun from a high point is guaranteed to entice you. Post evening, the sky is mostly covered with a blanket of stars. Upon your return from Sajek Valley, you can also take in the sights of Dighinala Banbihar, Hazachara Jhorna, and the Dighinala hanging bridge. There are some local 4 wheels drive cars that are used for transportation called Moon Car or Chander Gari. Usually, the moon car has the capacity to carry 10 to 15 passengers. It is claimed that one must try these cars when they visit here. While traveling through the curving hill route to Sajek, a car is suggested be reserved for a hassle-free journey. This place is also considered ideal for trekking. To have a pleasing time here, staying in resorts is highly recommended, as Sajek offers a variety of high-end resorts that are totally worth a visit. They are designed in such a way that they will ensure an unforgettable trip throughout, along with enjoying the natural essence of the place. And to conclude, the most unmissable thing here is the variety of authentic tribal food, which is impossible to find elsewhere. Most of the cuisines are prepared with rare ethnic ingredients by traditional chefs. When and how to get there Sajek is beautiful in all seasons. With the changing of the seasons, it takes on a stunning new hue. So regardless of the season, one can get a new taste of Sajek. But in the rainy season, autumn, and late autumn, you will feel the white clouds more closely. However, the best part of Sajek is the surprise of the weather it has to offer every day. Hence, it’s never a dull moment here. Although Sajek is located in Rangamati district, the communication system is good through Khagrachari. There is no direct connection from Dhaka to Sajek Valley. However, you can take the train to Feni then take the taxi to Sajek Valley or by bus to Khagrachari from Dhaka and then to Sajek. Other transportation options including bus is also available for a comfortable journey overall. Alternatively, you can take the bus to Chittagong then take the taxi to Sajek Valley. It takes two to three hours to travel from Khagrachhari to Sajek Valley across the road’s high peaks and falls. Hence it can be said without a doubt to experience the place’s actual beauty firsthand rather than merely reading and viewing enough evaluations about it.
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PRE-EVENT REPORT CERAMIC EXPO BANGLADESH 2025
The most awaited Ceramic Expo Bangladesh 2025, 4th edition is going to take place from 27th November to 30th November 2025 at International Convention City Bashundhara (ICCB), at the Expo Zone (Tent Hall), Kuril, Dhaka, Bangladesh. It is going to be one of the grandest celebrations in the world of ceramics unlike the previous 3 successful events on 2017, 2019, 2022 consecutively organized by Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA) and supported by Export Promotion Bureau (EPB) of Bangladesh Government. The arrangements of the exhibition and seminars represent the most aspiring & the biggest events in the ceramics community platform to showcase the local manufacturers and exporters world class products globally and also helps to create long term positive impact on the expansion & growth of the ceramic industry in Bangladesh. Bangladesh is considered as the potential booming market for the ceramic industry in South Asia which makes the Ceramic Expo Bangladesh 2025 exceptionally lucrative opportunity and a leading example for the expansion of the industry. The arrangement of Ceramic Expo Bangladesh 2025 is going to be a 4-day long event with many exciting opportunities to interact with the global community & portraying local offerings in the global platform. The exhibition will enhance the chance to exhibit all the sub sectors of ceramic products such as tableware, tiles, sanitary ware, and ceramic bricks. There will also be some representation of ceramic production machinery, advanced ceramics, raw materials & latest innovation of technologies to upgrade the ceramics world. As the Associate Partner Bangladesh Ceramic Society, Real Estate and Housing Association of Bangladesh (REHAB); International Event Partner Unifair Exhibition Services, ACIMAC, Messe Munchen; Support Partner Tecna, Asean Ceramics, Keramika Indonesia, Ceramics China; Knowledge Partner Nanomaterials and Ceramic Engineering, BUET, Ceramic ISC; Strategic Partner Ant Network, Uniceramics; Official Magazine Partner Ceramic Bangladesh Magazine, Asian Ceramics and Media Partner Ceramic Focus and Ceramic India will be there. It is expected that there will be more than 120+ exhibitors, 25000+ visitors, 500+ delegates, 300+ brands will be participating in the exhibition. The event is going to be one of the largest gatherings for the ceramic professionals, architects, engineers and related industry individuals in South Asia biannually. The expo will cover a 17,000 sqm expo area with enthusiastic participation from 25+ countries such as China, Vietnam, India, Malaysia, Italy, Germany, Thailand etc. along with the local manufacturers of Bangladesh. The valued Principal Sponsor of the Ceramics Expo Bangladesh 2025 is going to be Sheltech Ceramics Ltd., Platinum Sponsor are DBL Ceramics Ltd. Akij Ceramics Ltd. and Meghna Ceramic Ind. Ltd. and the Gold Sponsors are Mir Ceramic Ltd., Abul Khair Ceramic Ind. Ltd., HLT & DLT Technology and Sacmi Imola SPA respectively. There will be arrangements of buyer-supplier meet and scope of one to one business networking. The event will be full of new surprises and exciting activities for all the participants and visitors. There will be arrangement of- Day-long meet-up with the Architects Day-long engagements opportunity with the Dealers, Interior Designers & Fitters Seminar of Five Innovative Topics related to ceramic industry One Exclusive Seminar with prominent Architects Raffle draw each day of the event Job Fair Award and recognition for the sponsors and participants Exclusive Gala Dinner Ceramic Expo Bangladesh 2025 is going to the most promising and progressive event of the ceramics world internationally. It will bring a diverse array of exhibitors, suppliers of the raw materials and machineries, related industries, ceramic industry experts, high officials, government entities to enhance the drive of innovation, collaboration and advancement together under a single platform at a time. The event will also enable the opportunities to explore insightful seminars and conferences to share industry related topics, advancement of the ceramic world and future of ceramics from the industry leaders, resource persons and industry experts. There will be multiple b2b meetings, b2c meetings and business networking opportunities to create more long term business relations through expansion of business collaboration. There will be a job fair, award giving ceremony, exciting gifts for the visitors & exhibitors & so on.
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‘The Story of Art’ exhibition Of Art and Altruism
Organized by Dhaka Storytellers from February 8 to February 13, the lush gallery space Aloki Greenhouse in the capital’s Gulshan hosted an exhibition titled The Story of Art. The exhibition boasted a stunning collection of 80 to 90 artworks, captivating audiences for a week. Curated by Syeda Adiba Hussain, co-founder of Dhaka Storytellers, The Story of Art was more than just a display of artistic excellence. This was Dhaka Storytellers’ second art event, following the charity exhibition Art for Charity in August 2024. In the same vein, The Story of Art supported a larger cause, with a portion of the proceeds donated to five schools and one college in Sylhet, demonstrating the power of art to create tangible change beyond gallery walls. Beyond the beauty of its displays, the exhibition underscored the immense power of art to inspire and drive change. By merging artistic excellence with humanitarian efforts, it aimed to uplift communities, empower individuals, and support crucial social causes. Having been in the making for almost a year, the exhibition was carefully planned to bring together some of Bangladesh’s most celebrated artists. The lineup included some of the country’s most notable names, such as Rafiqun Nabi, Monirul Islam, Hamiduzzaman Khan, and Kanak Chanpa Chakma. Furthermore, the exhibition commendably featured artworks by several emerging artists, creating a dynamic collection that bridged generations of artistic expression. From simply beautiful paintings to thought-provoking sculptures, The Story of Art was also an opportunity for both seasoned and budding collectors to acquire unique pieces while contributing to a noble cause. The grand opening on Friday, February 7, set the tone for the week-long exhibition. The launch was attended by an invitation-only audience, including the participating artists, their families, media professionals, and notable guests. As the exhibition drew to a close, it left behind more than just a collection of breathtaking visuals; it also left an indelible impression on those who visited. The fusion of artistic expression with social commitment deeply moved attendees, inspiring them to consider the vast potential of art beyond aesthetics. The exhibition carried a narrative that extended far beyond the gallery walls, reinforcing the idea that art is not merely to be observed but to be experienced, felt, and acted upon. The event was about more than just admiring artworks—it was about creating a shared vision where artists, curators, and spectators all committed to a cause bigger than themselves. It demonstrated that art has the ability to transcend traditional boundaries, reaching into the hearts of individuals and communities, sparking conversations, and inspiring action. Ultimately, The Story of Art was a celebration of creativity’s ability to inspire, connect, and transform lives. The week-long show was a powerful testament to the transformative synergy between art and altruism. It showcased how art exhibitions, when intertwined with a greater purpose, can spark meaningful change. Written by Shahbaz Nahian
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Devoted to Architecture that benefits Mother Earth
Architecture is one of the most profound forms of art that turns into reality, where humans and the environment interact. From the outset of Architect Bayejid Mahbub Khondker’s celebrated career, his design inspiration has consistently driven him to create impactful designs that seamlessly integrate with their surroundings, enhancing natural beauty without causing disruption. Bayejid graduated from the Department of Architecture at the Bangladesh University of Engineering and Technology in 1996. Following his graduation, he spent two years contributing to the private sector before transitioning to the government sector in 2000. Up until 2010, he served as assistant chief architect at the Department of Architecture under the Ministry of Housing and Public Works in Bangladesh. “Like any other art form, architecture thrives on creative freedom. The constraints of a government position limited my ability to fully nurture this creativity. Thus, I chose to take early retirement and established my own firm, Nakshabid,” he explained. In the 14 years since the inception of Nakshabid, Architect Bayejid’s career has taken interesting turns. His portfolio now comprises a diverse range of projects, from residential buildings to factories, hospitals to museums, ports to cities, and even cemeteries to mosques. He has truly designed it all. “In developed countries, architecture is practiced in a quite specialized manner. For example, there are distinct architects for aviation facilities or medical centers. Bangladesh, being a very small country, has a more generalized approach to architecture. As a result, as an architect, we get to design a wide variety of structures. This can be seen as both a blessing and a challenge,” he added. As an architect, Bayejid highly prioritizes sustainable and eco-friendly structures for both urban cities and remote areas. The architect emphasizes that global warming has heightened the importance of environmental sustainability, compelling architects to play a crucial role in reducing global carbon emissions and transforming current design paradigms. “I take pleasure in incorporating local and sustainable materials into my designs. For instance, using glass in the exterior of a building is not always essential. I prefer to avoid it unless necessary, opting instead for locally available materials that can significantly enhance the aesthetics. This approach not only supports sustainability but also values local resources. However, I am not opposed to using imported materials; I incorporate them when the situation demands,” he opined. Believing in the aforementioned notion, Bayejid approached the interior design of Hotel Nandini with a focus on minimalist elegance, utilizing locally seasoned materials like Koroi wood, Gaab, sea grass, and bamboo. A touch of imported steel, weathered locally, adds structural integrity. The exterior design effortlessly blends glass with artisanal wooden craftsmanship, giving the boutique hotel a distinctive and visually captivating appeal. A standout establishment in the surroundings. When asked about his favorite projects to date, Bayejid found it challenging to single out any, as each one holds a special place in his heart and has a unique story to tell. Nonetheless, the architect took a moment to highlight a few of his fondest projects, including the Nurpur Graveyard in Rangpur, Karupanya Factory in Rangpur, Aman Mosque in Narayanganj, and Hotel Nandini. “Nurpur Graveyard transcends the conventional boundaries of typical graveyards in our context. This Muslim cemetery includes a compound that houses a primary healthcare facility and a madrasa. The entire premise is funded by nearby local communities,” he added. The graveyard is designed to create spaces for leisure, an uncommon feature in our region. The overarching design philosophy was to create an open, inviting space that encourages local community members to visit and find solace where their loved ones rest in peace. The key concept of the project is to establish a synergy between the graveyard and community amenities. On the other hand, his iconic design, the Karupanya Factory in Rangpur, has set a new benchmark of sustainable architecture. From a distance, with the lush greenery covering all over the front of the factory, it appears like a forest. The factory is designed as an energy-efficient and climate-responsive structure that can save up to 40% on energy consumption. Energy efficiency, water efficiency, optimal use of daylight, plantation, and ecosystem preservation are its sustainable design elements. “Traditionally, industrial spaces are viewed as environments dedicated solely to relentless work. However, this factory was conceived with a different vision. The entire compound, including the workplace, is thoughtfully designed to evoke a sense of homeliness for the workers,” said Bayejid. The Karupannya factory project earned acclaim in the open category of the ‘UIA 2030 Award’ by the International Union of Architects (UIA) and UN-HABITAT. Architect Bayejid Mahbub Khondker received two gold medals in the Industrial Building category and a special award for Socially Responsible Architecture and Sustainability at the ARCASIA Awards for Architecture-2023 for the same project. We asked Architect Bayejid if he has any particular style in his work, just like many profound architects have a signature style that speaks for itself. The architect did not take seconds to answer in the negative and explained his stance. “I do not adhere to any signature style, nor do I aspire to have one in the future. Firstly, I believe that adopting a particular style limits our creativity. Secondly, the previous generation of architects had the luxury of focusing primarily on aesthetics and signature style. However, times have changed, and our natural environment is now in crisis. Our duty is to preach architecture that does not disrupt nature but rather fits in,” he concluded.
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For the Love of Language Nation and Literature
With a new sun, new authorities emerge, revitalising familiar spaces. The 40th Ekushey Book Fair 2025, themed “July Mass Uprising: Building a New Bangladesh (New Bangladesh Deconstruction),” featured over 700 publishing houses at the premises of Bangla Academy and Suhrawardy Udyan. The month-long fair was inaugurated by Dr. Muhammad Yunus, the Chief Adviser of the interim government on 01 February. The Amar Ekushey Book Fair, a fundamental element of Bangladesh’s literary heritage, returned this year with a striking and visually captivating transformation. Uniquely crafted stalls add an architectural charm that sets this year’s fair apart from the previous editions. Visitors are greeted with the richness of literature and an impressive array of architecturally designed stalls, each presenting a unique identity. The influence of the new government is evident in the fair’s structured setup, where each stall showcases unique aesthetics through bold shapes, intricate exteriors, and thematic designs. When visiting this year’s Ekushey Book Fair, the crowd was astounding. People of all ages turned the fair into a true celebration. The entrance was bustling with various food vans, and women and children were all dressed up. The Book Fair has never been this festive and crowded in recent years, even on working days. Whether for recreation or out of love for books, the fair should continue in this spirit for eternity, celebrating Bangla language and literature. Readers and visitors took a moment to admire the aesthetics embraced by publishers who dedicated extra time and thought to beautifully decorate their pavilions. One of the highlights of this year’s book fair is the pavilion by Iti Prokashon, titled ‘Ziar Bari’ (Zia’s House), named after Ziaur Rahman, a prominent army chief, freedom fighter and politician who served as the sixth President of Bangladesh from 1977 to 1981. A key figure in the country’s War of Independence, Zia’s name has often been sidelined in public discourse and textbooks due to the agendas of the previous autocratic regime. In contrast, Onnodhara Prokashon transformed its pavilion into a representation of the Bangladesh Parliament House. The sight of these two distinct symbols coexisting on the same ground truly captivated visitors. Afsar Brothers gave their pavilion a harmonious blend of heritage and functionality, making it an inviting space for book lovers while paying homage to Bengal’s rich architectural traditions. The structure follows a half-timbered design with exposed wooden beams and white infill panels, resembling classic Bengali rural or zamindari house styles. Other notable mentions include Bishwa Shahitto Kendro, which transformed its pavilion into a two-story BRTC bus structure, paying homage to its Moving Library. Bhashachitro Publications adopted a minimal, monochrome palette, giving the pavilion a simple yet elegant look. Bengal Books chose a wooden pavilion, creating a soothing atmosphere for buyers with its well-decorated books and thoughtful lighting. The Puthiniloy stall featured a book-structured roof, while Gronthik designed its stall to resemble a mud house with bamboo. Shaishab Prakash’s stall is shaped like a whimsical castle, inviting readers into a world of children’s literature. These creative designs add a unique visual and conceptual dimension to the fair, making it not just a place for purchasing books but also for cultural and artistic appreciation. The best pavilion design goes to Batighar, designed by artist Shahinur Rahman. The triangular front featured a stained-glass-like panel with motifs from Nakshi Kantha and Patachitra, reflecting Bengali folk art. Inside, a red dome element, inspired by a Chhoto Sona Mosque, highlighted local heritage. The steeply pitched roof with exposed red clay tiles resembled traditional Bangladeshi huts. For its artistic excellence, Batighar won the Kayum Chowdhury Memorial Award for best pavilion in this year. Sadly, the kids’ section lacked vibrancy, with limited space for children to explore and freely roam around. However, a few stalls, including Shoishob Prokash, Mayurpankhi, and EKRI MIKRI, did a decent job of capturing the attention of young visitors. Shoishob Prokash transformed its stall into a castle-like structure, Mayurpankhi adhered to its palette with subtle adjustments, and EKRI MIKRI added a creative touch by placing a horse for children to play on, making the stall an engaging and fun experience for the little ones. This year, the fair included 66 more stalls than the previous year. 99 publishers were located at the Bangla Academy premises and 609 at the Suhrawardy Udyan area. There were 37 pavilions in total, with one at the Bangla Academy premises and 36 at Suhrawardy Udyan. The Little Magazine Corner had been set up in Suhrawardy Udyan, with 130 stalls. In the children’s corner, 74 institutions had been allocated. The fair also featured daily seminars and cultural programmes in the evening, and a special “Children’s Hour” held every Friday and Saturday from 11am to 1pm. As part of the Amar Ekushey celebrations, various children’s competitions, including art, recitation, and music, were organised. The fair had four entrance points: TSC, Doyel Chattar, MRT station, and Engineering Institute. Director General of Bangla Academy Mohammad Azam and Member Secretary of the Fair Management Committee Sarkar Amin said to Ceramic Bangladesh that the fair was entirely polythene and smoking-free, with security provided by the Police, RAB, Ansar, and various intelligence personnel. All participating institutions sold books on a 25% commission basis. The academy published 43 new books and reprinted 41 books for this fair. A total of 3,300 new titles were published in this Book Fair 2025 and Bangla Academy stall alone sold books worth Tk 61 lakh. Several awards were presented at the fair, including the Chittaranjan Saha Memorial Award for the best publisher, the Munir Chowdhury Memorial Award for artistic excellence, and the Rokanuzzaman Khan Dadabhai Memorial Award for children’s literature. These awards recognise the contributions of publishers and authors to the literary and cultural landscape of Bangladesh. Written By Fariha Hossain
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A Fresh Look of WE SPACE with Inclusivity at its Core
In the bustling Gulshan North Avenue of Dhaka, a unique office concept in Bangladesh replaces traditional departmental segregation and hierarchy with freedom of workspace and teamwork. Located in a prime location of Dhaka’s business hub, WE SPACE is Woolworth’s Group’s Bangladesh office, co mprising an area of 6,300 square feet. The entire project was completed in 90 days, which was a challenge in itself. The spaces in this project have been designed with Woolworth’s inclusive concept of “WE” and togetherness in mind. This concept is reflected in the layout, flexible workspaces for users, and an interesting colour palette that complements the brand identity. As per the question, Sudeshna Shireen Chowdhury, the founder and principal architect of Studio.O, explained, “All functions are arranged together in a loop. If you enter the office from one side, you can come back and end up in the same space.” Inspired by the concept of “We Space,” the layout has been developed with a central collaborative social hub and town hall space as the heart of the office. Upon entering, a clean, central circulation spine welcomes the user into the space. This loop leads them towards designated zones, which are specifically marked to enable easy navigation. The design ensures universal access for both circulation and entry into all spaces, promoting proper orientation and mobility. Overall, the office space has been designed to be exceptionally user-friendly, showcasing unique details and features while upholding the brand identity of Woolworth’s Group. Architect Sudeshna explains that there are no designated seats or fixed workstations. The concept is for all functions to be connected in a loop, allowing users to enter from one side and return to the same space upon exiting the loop. The design team did not introduce a traditional reception area, as the other Woolworth’s offices do not have one either. The zoning prioritises common areas, meeting rooms, and a multifunctional room near the entrance for guests. The kitchen, designed more like a coffee pantry, is also placed near the entrance for easy access by guests. Public spaces are readily accessible upon entering the office. “As you move further inside, you’ll find the workspaces located near the terrace space,” as explained by Architect Sudeshna. All the furniture for this project has been locally sourced and designed, making it exclusive to the users and the office. Hatil provides modern, space-saving compactor storage that allows for a significant amount of storage within smaller areas. Height-adjustable tables and workstations were made locally using handmade techniques. The vibrant colour palette within the workstations incorporates orange and green shades. A unique feature is the collaborative table they designed. It can function as a whole table for four people or unfold into individual workspaces. One of the most striking features of the space is the ceiling. The Woolworth’s logo is cleverly incorporated as a ceiling light fixture, adding a unique and memorable touch to the ambiance. The clients loved this detail and are considering replicating it in our other branches to create a consistent and memorable brand experience. Vinyl flooring is used throughout the space, with a colour scheme that complements the blue ceiling light to further highlight the blue colour in the ceiling and the brand association as well. No partitions were used in open spaces; the variation in the texture of the floor materials separates the zones. Biophilic principles were considered throughout the design process. Planters were strategically placed to integrate nature into the workspace. The architect adds, “We always consider biophilic principles. So, we planned where the planters would go and designed accordingly.” The meeting room features a TV panel that doubles as a whiteboard, demonstrating a smart design element. Acoustics were also a priority. To minimise echo, a false ceiling with sound-absorbing panels was installed. Carpets were also used for the same purpose. In the main workspaces with exposed ceilings where talks and town hall meetings are held, sound-absorbing carpet flooring was used. Another unique addition to the project was the soundproof office pods for four people. “These pods are fully furnished, offer 85% sound absorption, and have their own ventilation systems,” explains Architect Sudeshna. She further adds, “Every space has its own identity. There is a focus zone, a collaborative zone, and a social zone, all with different kinds of identities and characters.” Completed in January 2023, WE SPACE is a collaborative project by the eminent architecture firms Studio.O and Binyash, located in Dhaka. The team of architects brainstormed together to come up with a concept that ensures efficiency, comfort, and a positive ambiance for office users. Architect Sudeshna Shireen Chowdhury concludes, “Working with the Woolworths team was an exceptional experience. We appreciate the unparalleled support from our partners.”
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Real Estate Enthusiasts, Innovators Show Grand Confidence At REHAB Fair, Businesses Eye Mammoth Growth in the Ceramic Industry
The Real Estate and Housing Association of Bangladesh (REHAB) organised a five-day REHAB Fair-2024 at Bangabandhu International Conference Centre (BICC) in Dhaka, to bring together all stakeholders related to the real estate sector, including land developers, house builders, buyers, financial institutions, building materials companies, and ceramic companies. The fair concluded on December 27 with an overwhelming response from visitors and prospective buyers. It witnessed significant engagement with real estate enthusiasts and industry stakeholders. RAJUK Chairman Siddiqur Rahman Sarker inaugurated the fair on December 23. The event attracted about 18,000 visitors and buyers, showcasing its popularity among Dhaka residents and highlighting the strong interest in the real estate sector. REHAB leaders expressed satisfaction, stating that the event successfully met its objectives of promoting the housing sector and engaging the public. According to REHAB data, the fair saw flats, plots, and commercial spaces worth Tk 403 crore being sold and booked. Of the total amount, flats accounted for Tk 230 crore, plots Tk 96 crore, and commercial spaces Tk 77 crore. Additionally, bank loan commitments worth approximately Tk 1,090 crore were received for new projects. Sheltech’s Deputy General Manager (Sales) AKM Rafiul Islam highlighted the importance of the fair in showcasing their 50 new projects to customers. He emphasised that such fairs provide an opportunity to communicate with both new and existing clients. “Many clients come here and purchase their desired products after comparing with other companies. We received good customers at the fair,” he observed. Similarly, Mir Real Estate Ltd’s Head of Marketing and Sales, Md Abu Zahid, noted that the fair allowed them to introduce seven new projects to customers. He pointed out the challenges faced by the real estate sector due to the increased cost of doing business and the rising prices of construction materials. Mr Zahid called for government policy support to help the sector thrive. Ceramics : A New Phenomena in Real Estate The ceramic sector is a new phenomenon in real estate. The fair highlighted the growing importance of ceramics in the real estate sector. REHAB President Md Wahiduzzaman stated that the organisation has been arranging the fair for the past 26 years with the goal of bringing all stakeholders, including realtors, developers, buyers, financial institutions, building materials companies, and ceramic companies, under one platform for the industry’s development. He explained that ceramics play a crucial role in the finishing segment of construction, accounting for 60 per cent of a building’s finishing part. Because a building has two segments: 40 per cent construction and 60 per cent finishing. Ceramic is part of the finishing segment. Thus, the prices of apartments depend on the finishing aspect. The fair provided an excellent opportunity for ceramic companies to showcase their products and for buyers to choose their desired items. “I use ceramic tiles in my projects, and thanks to the tile companies, we can finish building works smoothly,” Mr Wahiduzzaman mentioned. In response to a query, he mentioned that realtors seek quality products with good finishing and well-burnt tiles. “I prefer homogeneous tiles, but I have to change them due to client demands,” he said. Buyers looking to purchase plots and apartments can choose their desired properties by visiting different companies’ stalls at the fair. They can also examine products’ quality and legal issues. REHAB assists buyers, as only REHAB members can participate in the fair. Mr Wahiduzzaman also addressed the challenges faced by the real estate sector, including high registration costs, VAT, and taxes, as well as reduced ADP project implementation in the real estate sector due to the economic slowdown. He expressed optimism about the industry’s recovery by 2025 with proper government policy support. “We are working to fulfill the dreams of the citizens,” he stated. However, in the post-Covid-19 period, the business has faced a sluggish situation. Such fairs help grow business and trade. The demand for both tiles and sanitaryware is increasing significantly in the country. “But gas is crucial to ensure quality ceramic products. I planned to manufacture ceramic items but reconsidered due to the gas supply crisis,” he explained Hints at Ceramic Industry’s Growth The Chairman of the REHAB Fair-2024 Committee, Mohammad Akter Biswas said that more than 200 related industries, including rod, cement, tiles, and electrical equipment, and approximately three crore people are directly and indirectly linked to the sector, which accounts for 12%-15% of the GDP. “Various construction materials such as tiles and financial institutions participated in the expo. Buyers have the opportunity to choose their apartments after discussing with many companies at the fair,” he added. The growth of the ceramic industry was also highlighted, as several tiles and sanitary companies have started manufacturing high-quality ceramic products that meet international standards and are exported to different countries. Earlier, imported products were commonly used, but now the ceramic industry has become significant in Bangladesh. He underscored the importance of the REHAB Fair in bringing all buyers and sellers under one umbrella, allowing them to explore various construction materials and financial solutions. The REHAB Fair-2024 was a resounding success, bringing together a diverse range of stakeholders and facilitating significant transactions and commitments. The event highlighted the growing importance of innovation and sustainability in the real estate sector, with a particular focus on the role of ceramics. As the industry continues to evolve, the REHAB Fair remains a crucial platform for promoting growth, fostering collaboration, and addressing the challenges and opportunities faced by the sector. Written by Rafikul Islam
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State-of-the-art pavilions draw huge crowds at DITF-2025
With a view to attracting local and foreign visitors, the exhibitors of the month-long 29th Dhaka International Trade Fair (DITF)-2025 brought innovative architectural view at their pavilions and stalls made of various materials such as steel, board, wood, bamboo, electric cables, lights, colour and ceramic items. Chief Adviser to the Interim Government Prof Dr Muhammad Yunus inaugurated the fair at the Bangladesh-China Friendship Exhibition Centre in Purbachal, Narayanganj on 1 January, 2025. Commerce Adviser Sk Bashir Uddin and Export Promotion Bureau (EPB) Vice-Chairman Md Anwar Hossain also attended the opening ceremony. This year, 343 domestic and foreign companies took part in the fair, including 11 companies from India, Pakistan, Turkey, Singapore, Indonesia, Hong Kong and Malaysia in addition to Bangladesh. Last year, 304 companies participated in the fair, including 9 foreign companies from 5 countries. The companies set up premium pavilions, mini pavilions, and reserved pavilions at the fair venue to display various products including textiles, furniture, electrical and electronics, jute and jute products, leather products, machineries, cosmetics, home furnishings, toys, stationery, crockery, plastics, melamine, herbal and toiletries, imitation jewellery, processed food, fast food, and handicrafts. Of them, many exhibitors also offered discounts ranging from 5 to 50 per cent as well there to attract more buyers. The Ministry of Commerce and EPB have organised DITF since 1995 to promote export growth and market diversification. This is the third edition at its new venue in Purbachal, following the relocation from Sher-e-Bangla Nagar in 2022. Pavilions and stalls were awarded due to innovative architectural view The best pavilions, stalls and organizations participating in various categories were recognized by presenting crests at the closing ceremony of the fair. The first prize was awarded to 22 best companies in different categories (Kiam Metal Industries Limited, Akij Plastics Limited, RFL Plastics Limited, Prisons Department, Pran Agro Limited, M/s. Helal & Brothers, Sena Kalyan Sangstha, JDPC, BGMEA, BKMEA, Hatil Complex Ltd., Jamuna Electronics & Automobiles Ltd., Navana Furniture Limited, Vision Electronics, SME Foundation, BSCIC, Orijinal Istanbul Kristal, Turkey, Pentel (Singapore) PTE Ltd., Singapore, Kewpie Malaysia SDN, BHD, Malaysia, Sonali Bank PLC, Islami Bank Bangladesh PLC and People’s Leather Industries. The second prize was awarded to 16 companies in different categories (Savoy Ice Cream Factory Ltd., Square Food & Beverage Ltd., KY Two Tone Ltd., Alloy Aluminum Furniture Limited, Exclusive Home Tex Industries Limited, Bangladesh Machine Tools Factory Limited, Bangladesh Tea Board, Nadia Furniture Limited, Minister Hi-Tech Park Limited, Brothers Furniture, Hatim Steel Structure Limited, JMG International, Hadeks Hali DeriTekstil Dis Tic A.S., Turkey, PT Nissin Foods, Indonesia, Rabab Trading International, Hong Kong and Dutch Bangla Bank PLC. The third prize was awarded to 13 companies in different categories (Delhi Aluminium Factory, Abul Khair Milk Products Limited, SKB Stainless Steel Mills Limited, Abdul Monem Limited, BRB Cable Industries Limited, Leathergoods and Footwear Manufacturers and Exporters Association of Bangladesh, Rangpur Metal Industries-Regal Furniture, Walton Hi-Tech Industries PLC, Joyita Foundation, Messrs. Nurul Textile, M/S Tarique Carpet Industries, Indian Carpet Industries, and Indian Oriental Carpet, India). Touhiduzzaman, Deputy General Manager [Public Relations] PRAN-RFL Group said, “We have a lot of products like food stuffs, plastics items, furniture, and electronics. We display the products for customers at the exhibition every year. We receive the best pavilion awarded each year due to innovative architectural view.’ He pointed out that they always try to build their pavilion at the fair venue with excellent architectural views in new shapes to draw large crowds. “As there is a limited space and it is a temporary place, so we build our stalls considering it. After getting tender from the EPB, we talk to different firms of interior designers and architects. Basically they set up the pavilion as per our direction,” he added. Touhiduzzaman stated that the stalls are set up by different construction materials like wood board, steels, tiles, bricks and others. He remarked that their main goal is to attract more customers. We decorate our stalls focusing our products. We will try to make the best pavilions in coming days as well,” he also commented. Mahin Sarker, Pavilion In-Charge of Square Food & Beverage, noted that their stall has been a hotspot for visitors due to excellent architectural views. Our pavilion got the second best pavilion award this year. “We offered up to a 50% discount on our food and beverage items, so a lot of people purchased our products. Additionally, as our company set up an attractive pavilion so visitors drew largely here,” he added. Another a-three day fair only for exportable items in October/November Talking to the Ceramic Bangladesh, CEO and Vice-Chairman of the EPB Md. Anwar Hossain said they tried to bring excellent architectural view in the DITF-2025. At the first time, we introduced innovative features and enhance the fair’s experience for visitors, particularly after the historic student-led revolution on 5 August, 2024. “We introduced new attractions like the 36-July Chattar and Mugdha-Sayyed Corner to showcase the revolution’s impact. Additionally, visitors enter the fair with e-tickets, eliminating the hassle of manual ticket collection.” Hossain emphasised the fair’s role in supporting local businesses and diversifying products to boost foreign currency earnings. “We invited many ceramic companies but they did not give positive response in the fair. We hope that in the next year fair, we can attract many ceramic companies in the expo as it is the potential and exportable products. “We try to organize another a-three day expo at the first time at Purbachal venue in October or November where only exportable products will be displayed. It will help to attract more foreigners. We have no actual data on foreign visitors that how many foreign visitors visited the DITF-2025 and export orders too but many foreign visitors came here,” he highlighted.
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AkijBashir Group hosts ROSA Bathware’s Business conference of 2025
AkijBashir Group recently concluded a grand day long ROSA bathware’s business conference of 2025, Evolve Beyond, at the CCULB Resort, Purbachal. The event brought together over 300+ business associates from the Group’s premium bathware brand Rosa. The conference served as a platform to align strategies and set ambitious goals for the upcoming year, while also celebrating the company’s remarkable achievements. Managing Director of AkijBashir Group Mr. Taslim Md. Khan, Chief Operating Officer Mr. Mohammod Khourshed Alam with all sales and marketing officials participated in the event. The conference featured strategic discussions, an award ceremony, and a vibrant cultural gala night, fostering collaboration and inspiration among all attendees. This remarkable event reflects AkijBashir Group's commitment to innovation, growth, and excellence in business.
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Brishtite Roder Kona’ reminisces Kazi Abdul Baset
The ongoing exhibition titled ‘Brishtite Roder Kona’ at Bengal Shilpalay lets new audiences be introduced to the works of one of the finest artists from Bangladesh, Kazi Abdul Baset. In an age when electricity has reached even the most remote corners of Bangladesh and air conditioning is ubiquitous, the image of a woman cooling herself with a traditional handheld fan may appear to be a relic of the past. However, this simple act of seeking relief from the heat was immortalised in the works of Baset. While his works are rarely exhibited these days, the exhibition at Bengal Gallery in Dhanmondi has provided a unique opportunity to view a comprehensive collection of his work. The exhibition features 72 pieces in a variety of mediums, including acrylic, pastel, charcoal, watercolour, and ink drawings. The artworks are all from private collections and have been generously shared to introduce Baset’s genius to a new generation. Kazi Abdul Baset’s legacy is enormous but unappreciated. Baset, a humble and introverted guy, was recognised for his plain pyjama and grey panjabi outfit, as well as his rigorous guidance of his students. He received a Fulbright scholarship and studied in Chicago from 1963 to 1964. Baset’s work has a unique blend of figurative and abstract styles. Despite his modernist approach, Baset’s themes frequently revolved around the simplicity and beauty of rural life, capturing its essence with profound depth. His depictions of rural women and domestic life added a new dimension to modern Bangladeshi art, specially his paintings of woman with a fan becoming almost a trademark of his artistic identity. Baset had a close relationship with fellow artist Mohammad Kibria, another shining light in Bangladesh’s art history, and analogies between their works were frequently made. Their mutual influence and inspiration resulted in considerable artistic synergy, which shaped Bangladesh’s art scene in the 1960’s. Baset began his career as an art teacher at Nawabpur High School, where other notable figures such as Mohammad Kibria and Murtaza Bashir taught. Baset’s artistic development—from his early realistic images of rural life to his later experimentation with abstraction and return to realism—reflects a dynamic and diversified artistic journey. This show at Bengal Gallery is a fitting tribute to the brilliance of Kazi Abdul Baset, providing spectators with a unique opportunity to immerse themselves in the works of a master who caught the soul of Bangladesh with unsurpassed sensitivity. Presented by Bengal Arts Programme, the exhibition walls adorns the works of Baset which he produced between the 1960’s and 1990’s. All the works being showcased are collected from the personal collections of Abul Khair, Abul Hasnat-Nasimun Ara Haque, Matiur Rahman and Luva Nahid Choudhury. Open for all, the exhibition commenced on 8 November 2024 and will run till 11 January 2025. Written by Shahbaz Nahian
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Body and the Map: Of wounds and Hope
Beautifully curated by Sharmillie Rahman, the exhibition “Body and the Map” took place on Bengal Shilpalay between 15 and 28 December, 2024. By engaging viewers to contemplate the interaction of power, identity, and transition, “Body and the Map” was more than just another decent exhibition that had the July-August uprising as its subject matter; the exhibition not only acted as a stark reminder about what must not be forgotten but also intrigued the audiences to introspect. Consisting of the artworks of ten multidisciplinary artists, many of whom were active participants in the mass uprising that overthrew a long-standing regime, “Body and the Map” was a riveting look at societal upheaval in the aftermath of that student-led mass rebellion. The show, based on the collective memory of Bangladesh’s last July-August, is both a reflection and a debate about the force of resistance, the weight of trauma, and the possibility of change. Their work delves into the complicated reality of a country dealing with its old and fresh scars and the tiers of collective psychological state of the mass after the newfound independence. The participating artists were A. Asan, Afsana Sharmin, Ashang Mong, Farzana Ahmed, Mong Mong Shay, Niazuddin Ahmmed, Palash Bhattacharjee, Rasel Rana, Razib Datta, and Ripon Saha. The July-August uprising was characterised by an unprecedented feeling of urgency, as residents defied persecution to demand justice, equality, and dignity. However, the road to liberation came at a high cost, with bodies mutilated, lives lost, and a collective psyche permanently transformed. The show explores this dichotomy, emphasising the body as both a personal and societal vessel for history, pain, and resilience. The artworks that were adorned by the gallery space delve deeply into the concept of the body as a source of memory and resistance. Whether through physical depictions or abstract interpretations, the ten artists highlighted how the human body bears the weight of institutional injustice and governmental violence. The visual narratives starkly remind us about biopolitical disposability, demonstrating how individuals became victims of normalised violence during the authoritarian system. The relationship between body and land appears as a repeating pattern, emphasising identities defined by culture, religion, race, and gender, all of which intersect within a nation’s sovereign borders. However, these links are loaded with tension, since the scars of authoritarian authority and systematic impunity are etched on both the body and map. In the aftermath of this historic movement, “Body and the Map” illustrated the dialectics of trauma and renewal, hopelessness and optimism. The exhibition stressed the importance of open discourse and the reframing of identity and government as centralised power disintegrates and something new emerges. Despite recollections of terror, violence, and loss, the artworks elicit a cautious hope. The collective body politic, though scarred, remains resilient, signalling a determination to redefine itself and the map it inhabits. Written by Shahbaz Nahian
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5 years journey of CERAMIC BANGLADESH MAGAZINE
Walking through the memory lane, the 5-year journey of Ceramic Bangladesh Magazine seems like a dream of yesterday. During the planning of the Ceramic Expo Bangladesh 2019, the magazine began its journey by providing complimentary copies to exhibitors to educate them about the ceramic industry in Bangladesh. Along with the success of the Ceramic Expo Bangladesh 2019, everyone particularly praised the magazine, which encouraged us to come up with the next issue in 2021. Chief Editor Mr. Irfan Uddin was recollecting the memories in this way while sharing his experience of working closely with the magazine. Initially, the magazine focused on Bangladesh’s ceramic industry, its overall future, prospects, growth, etc., to bring limelight to the overall sector. Due to Covid-19, it was impossible to continue the publication in 2020. But after that, Ceramic Bangladesh was publishing full-fledged from 2021 at the end of the year. Since then, the magazine has completed its 13th issue and plans to publish bimonthly from 2025. The journey was a rollercoaster for all the team members, along with the editor, sub-editor, coordinator, designer, photographer, and writers. Everyone took a leap of faith to explore a new publication arena with their enthusiasm, interest, and love for taking challenges. The editor of the magazine, Salahuddin A. Talukder, expressed his immense affection for Ceramic Bangladesh Magazine. It was a challenge to sustain the magazine and keep up the top-notch quality so that it would be liked and praised by all. The projects we have focused on were unique and interesting, and each one has a new way of unfolding the journey of development and growth in Bangladesh. While interviewing the subeditor, Rehnuma Tasnim Sheefa, it was really interesting to know how they came up with the names of the segments and selected projects to feature initially. Reminiscing on the initial projects and works, she mentioned that at the beginning, most of the write-ups were done by the editor, Salahuddin Ahmaad Talukder, and himself, along with 2 to 3 writers. Photographer Junaid Hasan Pranto and designer Ali Haider created magic with their photography and layout to make those features alive by narrating a story visually for the readers. The 1st issue of the magazine was prepared by Ant Network, which encouraged BCMEA board members to approve the work of the publication and enable BCMEA to work on the magazine internally. With the publication of the 2nd issue, considering the contribution of the architects and their close involvement with the ceramic industry in their projects, the magazine started to focus on architects and their significant works, various mega projects, interior and exterior insights, industry-related content, and some exclusive and unique projects related to the use of tableware, tiles, ceramic bricks, sanitaryware, etc. Through the magazine, readers learned that Bangladesh is the only country where the maximum number of national establishments are made with red ceramic bricks, a matter of pride for the ceramic industry. There were also some interesting coverages of the projects from a wide range of collections under different segments. For example, for the segment Architectural Regime, Alenbari Mosque of PWD was featured, which is a geometric-shaped prayer space with a dramatic skylight that represents the combination of art and architecture in every part of the project. The feature on Monno Ceramic for Ceramic Central reminds the reader about the legacy of ceramic tableware in Bangladesh, which has created a corner in every showcase of each household and the heart of Bengali mothers. Under Suasive senses, unique ideas like Ajo Idea Space use their own crockery sets to serve their food sustainably and reduce the wastage of food. Some of the exclusive features of the brilliant minds of the country were presented through the magazine. Architect Rafiq Azam recalled his childhood memories and newfound inspiration for sustainable architecture practices from his surroundings, exploring new arenas of work that are inspirations to many young architects. The creator of the new city skyline Architect Mustapha Khalid Palash unfolds the dream of making the city more sustainable and living worthy for the city dwellers. The Mason Master Architect Mohammad Foyez Ullah’s projects represent the combination of modern architecture by designing sleek concrete buildings and making them stand out to praise the beauty of the creation. Apart from them, Architect Mamnoon Murshed Chowdhury, Architect Mahmudul Anwar Riyaad, Architect Tanya Karim, Architect Nurur Rahman Khan, Architect Masudur Rahman Khan, and Architect Salauddin Ahmed’s contributions and journeys of their personal and professional lives are worthy to explore through the magazine. They have shared their life journey, learning, and their experiences under the architectural regime segment. It was a documentation of the living legends and the inspiration behind their creations through the magazine for future generations, added by Sheefa. In the segment Interior Insight, we featured different well-designed restaurants and offices. Some features were also on entrepreneurial stories to encourage new people to start their journeys in similar industries. Exclusive mega projects like MetroRail, Padma Bridge, Kamlapur Railway Station, etc. were also highlighted in the cover stories of our magazine. In the Heritage segment, sites like Lalbagh Kella, Tara Mosque, Shat Gambuj Mosque, Terracotta Temple, etc. were also covered. In parallel, we also focused on scenic sights, covering touristy destinations. From financial institutes to real estate, we have tried our best to cover the wide band. Ceramic Bangladesh Magazine has grown with some excellent team members. Without their dedication and utmost effort, it would not be possible to come such a long way. The former core team members of BCMEA, Mahfuza Tasnim Noshin, Kazi Sumaiya Ahmed, and Anamika Rahman, shared their journey with the magazine as they have closely worked with the CBM since its initiation. They shared their utmost affection and recalled their journey while working on such an interesting project from scratch. To sum up the journey of Ceramic Bangladesh Magazine, the dedication, effort, and consistency of all the team members is remarkable. Without their continuous
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Liminal Horizon: Body, existence & Introspection
“Liminal Horizon,” the solo exhibition of artist Sanad Biswas that took place between 14 and 7 January at the capital’s Kala Kendra, is one of the most fascinating sculpture exhibitions in recent memory of post-pandemic Dhaka’s vibrantly growing exhibition scene. From quirky humanoid figures and brightly coloured and inflated ballooning bodies to disembodied internal organs, Sanad’s sculptures have an aura of eerie sensuality mixed with humour. They appear visually strange to our eyes, but the feelings we perceive are bizarrely familiar to our soul, and they intrigue questions about our fragility and existence as human beings, living and surviving amongst the complexities of the modern world. Although primarily a sculpture exhibition, it consisted of relevant paintings, drawings, installations, and photographs of performance art by the artist as well. This exhibition is also like a diary of Sanad’s almost two decades of art practice. “The world that we live in right now has its tiers of complications. And as human beings, our immediate surroundings and even global circumstances in this era of a world connected through the devices in our hands always have an effect on us, both mentally and physically. The artworks that are shown in this exhibition are artistic manifestations of my psychological journey, how I reacted to certain contexts. For example, the characters in my works are sometimes satirical, sometimes dramatic and colourful, and sometimes they suffer from existential crises!” said artist Sanad Biswas. Another highlight of this exhibition is the beautifully done curation. Curating a show inside a space like Kala Kendra is always challenging, as it is basically a ground-floor part of a residence and not originally designed to be a gallery. But artist Sanjid Mahmud gracefully accomplished the difficult task of dealing with such a space and devised a neatly designed exhibition. “This exhibition was not pre-planned. Sanad had been devotedly working for a long time now; hence, naturally, he has an assemblage of amazing artworks that has a certain coherence that subtly reverberates that they are Sanad’s works. Later, we decided to organise this exhibition. And as a curator, designing a sculpture show inside a space like Kala Kendra was also a challenging task,” said artist Sanjid Mahmud, who is the curator of the exhibition. “Compared to the existing types of sculpting practice that we see in our local art scene, Sanad’s works are starkly different. His works are compelling even in the standard of global contemporary art,” Sanjid further added. With their few other artist friends, Sanad Biswas and Sanjid Mahmud runs their art collective Daagi Art Garage. Although not a familiar name outside our local art scene, this Dhaka-based young art collective, is one of the finest in their genre in Bangladesh. Daagi’s own space, Studio Bhashkarmi, is in the capital’s Hazaribagh area. Written by Shahbaz Nahian
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REHAB Fair 2024 Concludes with Overwhelming Turnout and Promising Prospects
The five-day REHAB Fair 2024, organized by the Real Estate & Housing Association of Bangladesh (REHAB), concluded on December 27 at the Bangabandhu International Conference Centre (BICC) with remarkable success. Drawing 17,729 visitors, the event showcased the growing potential of the real estate sector, featuring stakeholders such as land developers, builders, financial institutions, and ceramic companies. RAJUK Chairman Siddiqur Rahman Sarkar inaugurated the fair on December 23. REHAB reported sales and bookings worth Tk 403.13 crore, comprising flats (Tk 230 crore), plots (Tk 96 crore), and commercial spaces (Tk 77.12 crore). Additionally, banks committed approximately Tk 1,090 crore in loans. Prominent real estate companies like Sheltech and Mir Real Estate used the platform to showcase new projects and connect with clients. “The fair helps us engage with old and new customers while facilitating direct comparisons across companies,” noted Sheltech’s Deputy GM, AKM Rafiul Islam. The fair also highlighted the ceramic industry’s growing influence in real estate. REHAB President Md. Wahiduzzaman emphasized that ceramics now constitute a significant part of a building’s finishing phase, accounting for 60% of total construction. Ceramic companies had a strong presence, showcasing high-quality tiles and tableware, which are increasingly in demand. The fair committee chairman, Mohammed Akter Biswas, underscored the industry’s impact, with 12-15% of the GDP linked to real estate and related industries like rod, cement, and tiles. He praised the fair’s role in uniting buyers and sellers, offering customers the chance to explore a wide range of products and services under one roof. REHAB leaders expressed optimism about the sector’s recovery by 2025, contingent on supportive government policies addressing challenges like high registration costs, VAT, and the economic slowdown. The event’s success reinforces its importance in fostering growth and innovation in Bangladesh’s real estate industry.
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Brac University’s New Eco-friendly Campus: A Blend of Nature and Innovation
As you travel from Rampura to Badda in Dhaka, the imposing concrete structure in Merul Badda is hard to miss. Initially, it might seem like an industrial or commercial complex due to its sheer size on just 7 acres of densely populated land. However, its true purpose as a university is revealed once you step inside. The ‘triple height space’ design allows for free access to light and air, featuring long escalators connecting various parts, amphitheater-like stairs, and several ‘urban windows’ at the top. The building eschews unnecessary glitter, embracing the raw form of brick and concrete both inside and out. The carefully arranged garden adds a touch of greenery, making it an inviting space for students without any sense of grandeur. Inspired by the Sundarbans ecosystem, Brac University’s new campus seamlessly blends nature with architecture. Designed and constructed by experts from Singapore, China, and Germany, this campus in Merul Badda, Dhaka, stands as Bangladesh’s first eco-friendly and sustainable inner-city campus. Last February, Brac University’s new campus was inaugurated with the theme “In the call of green, the call of the future.” Tamara Hasan Abed, Chairperson of the Board of Trustees of Brac University, highlighted the university’s commitments to academic excellence, cultural prosperity, and environmental conservation. She also spoke about the university’s goals and plans to promote a holistic educational experience through environmentally friendly activities, local performances, and discussions. Founded by Sir Fazle Hasan Abed, Brac has always distinguished itself through various creative and innovative initiatives. Over the past two decades, Brac University has achieved significant milestones in higher education, research, and international competitions. Despite this, the lack of a permanent campus was a major limitation. Although there was a residential campus in Savar, it was only available to students for one semester. All other educational activities were conducted in multiple multi-storied buildings in the Mohakhali area. The new Merul Badda campus now provides a permanent, eco-friendly, and sustainable space for all students. Designed by the r e n o w n e d S i n g a p o r e – b a s e d architectural firm WOHA Designs Pte Ltd., Brac University’s new campus is a marvel of modern architecture. Key figures involved in the project include Professor Fuad Hasan Mallick, Dean of Brac University’s School of Architecture and Design; Zainab Farooqui Ali, Chairperson of the Department of Architecture; and Project Architect Shafiqul Islam Suman. This 13-story building with three basements is designed to accommodate around 15,000 students, reflecting a commitment to environmental consciousness. The design allows natural light and air to flow freely, featuring state-of-the-art facilities. Cutting-edge technologies such as cross ventilation, a hybrid thermal management system, and aerodynamic fins ensure optimal airflow. The greenery covering the building enhances the oxygen supply, while the hybrid cooling system maintains clean air in classrooms, helping students stay focused for longer periods. Impressively, the building saves 40% of its energy by reducing reliance on air conditioning. The campus sits on a transparent reservoir, with rain chains installed to collect and store rainwater, which is used to irrigate the building’s plants, and any excess fills the reservoir. Additionally, the campus boasts an advanced sewage treatment plant for waste management. This energy-efficient design uses a total of 5.5 megawatts of electricity, with 25% sourced from solar panels on the roof. For a facility of this size, this is considerably efficient compared to the usual 8 to 10 megawatts typically required. The interior of this aesthetically pleasing building is mostly open space, encouraging student interaction, extracurricular activities, and co-curricular engagements. Design considerations also include universal accessibility standards, ensuring ease of movement for people with special needs or disabilities. The new campus is not only a hub of academic excellence but also a beacon of sustainability and innovation, paving the way for future educational institutions in Bangladesh. Tamara Hasan Abed, Chairperson of the Board of Trustees of Brac University, emphasized the inspiration behind the eco-friendly campus and the educational philosophy of Brac University’s founder, Sir Fazle Hasan Abed. She explained that Sir Abed envisioned a university where education and free intellect would harmonize with nature. This new campus, a blend of nature and modern architecture, aims to teach future generations to think differently about life. She also highlighted the importance of innovation and creativity in urban development to protect nature. This campus will set a benchmark for students, planners, and stakeholders in urban planning and e n v i r o n m e n t a l conservation. Acting Vice-Chancellor Professor Syed Mahfuzul Aziz expressed his determination to develop Brac University’s new campus as a laboratory of knowledge and science. He stated, “We aim to develop this new campus of Brac University as a laboratory of knowledge and science. We expect that we will develop this university as a flagship university of Bangladesh by providing quality research and high-quality education. We are working towards that goal.” Professor Dr. Fuad Hasan Mallick, Dean of the School of Architecture and Design at Brac University, mentioned that discussions about building a permanent campus began after the establishment of Brac University in 2001. Several discussions with Sir Fazle Hasan Abed led to the selection of Merul Badda as the site for the new campus. One challenge was finding such a large land area in Dhaka, and Sir Abed wanted the campus to be located in Dhaka itself. In 2009, Sir Abed started planning the campus’s construction and selecting who would build it. He aimed for a world-class and exemplary campus that students could be proud of. The responsibility of designing the building was given to Singapore-based firm WOHA, known for their environmentally friendly designs. Sir Abed also appointed legendary Bangladeshi architect Bashirul Haque as an advisor for the project. Once the functional program for the campus was determined, the draft was finalized with key figures, including the dean and chairperson of the university. Fuad Hasan Mallick then visited the WOHA office in Singapore to discuss the campus’s design, and they developed a scheme.
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POETRY IN BRICKS: In Memory of BASHIRUL HAQ
Poetry in brick – is how a happy client described the house that Bashirul Haq had designed for them. This short write-up is an effort to describe this poetry and the process by which it was created. Bashirul Haq (1942-2020) had the good fortune to grow up in an idyllic rural environment, where he, unbeknownst to himself, imbibed how people could live in close harmony with the environs, where human habitation merged seamlessly with its surroundings, without disturbing it in any way. The eastern region of Bangladesh, and Brahmanbaria in particular, where his village lay 6 miles away from the town, is notoriously overpopulated. But from afar, from a car or a bus, the landscape is not crowded by people, and villages are tucked away behind clumps of trees, by paddy fields or water bodies. This is the simple living style that Bashirul Haq, as an architect, tried to adapt and express in his urban buildings. Architecture and architects in Bangladesh are carrying on the quest that Bashirul Haq was on—to find a grammar and an idiom of building that speaks to our landscape, that carries on our building traditions, yet is modern and contemporary, and responds to the needs of its users. Bashirul Haq used to describe his life as a series of happy coincidences. Most prominent amongst these coincidences, he felt, was his choice of profession. He discovered that designing buildings could be a profession as he sat browsing the USIS library as an intermediate student at Dhaka College. This set him out on a search for where he could pursue this subject. BUET had yet to start its department, and this led him to the National College of Arts (NCA) in Lahore and to apply for an interwing scholarship. This was a great career move, as the NCA was in search of a local architectural idiom. Trips to Mohenjo Daro and Harappa organized by the department, studying Mughal building traditions, and being housed in a building that embodied Indo-British architecture, students were encouraged to explore their modes of expression. This early training was honed at the University of New Mexico, where he went for his postgraduate studies. The adobe building patterns there further honed the young architect’s search for design practices that spoke to the environment and a sense of history and tradition. Returning to Bangladesh in 1977, Bashirul Haq felt that he could translate this training and preparation into practice. He began with small projects, and the ‘poetry in brick’ mentioned earlier was a house built for Justice Abu Sayeed Chowdhury. From the beginning, he chose brick as the construction material of choice. It sprung from the soil—nothing else could be more indigenous than brick, he would claim. Brick had a long history as a building material in the region, and he felt that the color of the brick and the green surroundings were in total harmony. His brick buildings were distinctive, but it meant that they appealed to a selective group of clients. However, he stuck to his design principles and always tried to combine the local with the modern. The cost of building was a big concern. In his more institutional buildings, such as the BCIC building, he would look for ways of cutting costs without compromising on aesthetic quality. Glossy materials were not part of his designs. Even the high-rise buildings are quite quiet—they do not draw attention to themselves in any way. The site is used to orient the building as much as possible with its environs. He was a purist in many ways and did not believe in using brick as surface cladding but as the actual structural material. He would emphasize the maintenance-free nature of brick, which does not need to be repainted or plastered. He spent long hours in making this material more resilient to weather conditions, to make it waterproof, or to prevent the salinity that tends to seep through. Architecture and architects in Bangladesh are carrying on the quest that Bashirul Haq was on—to find a grammar and an idiom of building that speaks to our landscape, that carries on our building traditions, yet is modern and contemporary, and responds to the needs of its users. Brick remains prominent in the architectural design practice in the country. This preponderance of brick has led, we are told, to great atmospheric pollution. Bashirul Haq would contend that ethical brickmaking processes would minimize this degradation and had a calculation regarding carbon emissions in the production of brick versus that of cement, where the brick was better. He also thought that more efficient methods of production had to be devised, minimizing the effects on climate. He was interested in building with mud and had designed a mud building, which sadly remains unbuilt. Reinforced bamboo was another material that interested him. He had prepared a book on cyclone-resistant housing in the coastal belt of Bangladesh. This book contains a detailed description of a house in the Cox’s Bazar region, which had withstood the great cyclone of 1991. Bashirul Haq was a thoughtful and creative person who believed that buildings should blend into the existing landscape, rather than stand out as monuments that define the landscape. In today’s world, with environmental issues at the forefront, this is a good architectural principle. Written by: Professor Firdous Azim Photo credit: Al Amin Abu Ahmed Ashraf Dolon | Prantography
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TRAVEL BACK TO THE ROOT WITH JATRA
For now, you forget that you are in Dhaka city and go back to the rural roots. Thankfully, Jatra has made it possible in this city. Amidst the rigid and chaotic city life of Dhaka, if you need a break, miss the rural natural vibe, and want to have a warm and cozy time with a vegetarian meal in a colorful, mesmerizing rural Bengal ambiance with folk music, then surely “JATRA” is the place to visit. Imagine, on a moonlit night, you’re sipping tea under the sky, and a mesmerizing flute is blessing your ear; the breezy sound of the thatched roof plays along with the music. You look around and see the mud-textured wall, bamboo trees, fences, and traditional local art everywhere. For now, you forget that you are in Dhaka city and go back to the rural roots. Thankfully, Jatra has made it possible in this city. Amidst the rigid and chaotic city life of Dhaka, if you need a break, miss the rural natural vibe, and want to have a warm and cozy time with a vegetarian meal in a colorful, mesmerizing rural Bengal ambiance with folk music, then surely “JATRA” is the place to visit. Jatra was created in the year 2000 in Banani by artist and musician Anusheh Anadil to highlight Bangladesh’s folk arts and crafts. Harmony with nature is one principle philosophy of Anusheh. In Bengali, Jatra means ‘journey.’ The people and culture of Bangladesh are vibrant, and everywhere the “Jatra” is visible, that vibrancy and harmony are visible. The art and music lounge of Jatra is “Jatra Biroti.”. In 2023, Jatra was relocated a few buildings away, close to their previous address. The design is done by the “Roofliners_studio of architecture” in association with “Charuta” as the construction partner. Late Ar. Rajib Ahmed, Ar. Tesha Sarawat, and Ar. Monon Bin Yunus played an important part in the design of “Jatra.” They have shared their journey of designing “Jatra” with us. Ar. Tesha Sarawat said, “We are connected to Jatra from the very beginning. As a designer, as a friend, as an acquaintance, we contain the philosophy as well. The harmony of nature and human beings is the philosophy of Anusheh. We also believe that this helped us design the place. Jatra was a fun project. Guidelines were there; also, there was full freedom of designing. The experiment was there too. Adding, eliminating, and adapting from the mistake was the design principle that we’ve followed. We have got a building with a field. We have designed the entry in a welcoming way so that any passerby feels like entering the place without even realizing when they have entered. The performance space is seen from the road. Jatra wants to go closer to people and wants to take people closer to nature. It was all kept in mind while designing.” The main challenge was that the building was very small and congested when they got it. Small rooms, one door, like an old residential house. Also, the structure was brick. So they couldn’t break wherever they felt like. It was impossible without expert engineering advice. Eng. Mashroof Kabir was there, who advised on where to break and where not to, keeping the structure stable. In this way, the whole place became like an interconnected floor. So that, when you go inside, you become confused about the entry and exit, like a maze. Which is strategically good for a showroom design and is intentionally done in this way. The thatched hut, with a mud-textured wall with traditional ìPuthi artî throughout the wall continuing up to the roof in some places, bamboo seating, and a small ìgamchaî patterned flag with cozy and warm light, ensures very selective usage of interior detailing and the right execution of the concept of distinct rural Bengal ambiance. “One big multipurpose hall was added later; one structure of mango wood was added. One kitchen of the restaurant was added on the roof. Structurally, the building was two-and-a-half-storied. It was not very fragile itself. But the addition we were supposed to do could not be mistaken. No technical mistakes could be made while modifying. Keeping the permanent part, many things would be added to the design journey that we have decided on at the beginning of the design. Then we did this. It’s continuing. Every year something will be added. That is the journey. Jatra Biroti is the restaurant part, but the whole philosophy is jatra”, said Ar. Monon bin Yunus. It was just a building with a field. Old, but not very old. There was a plinth in the front, which is the hall room now. The plucked structures are not very permanent. Mango wood, hemp (Shaun), and tin are the types of materials that are used. The hall room is an important function but gives the vibe of a temporary structure. Plus, “jatra biroti,” the restaurant part has an extension on the ground floor, which is also of mango wood structure and hemp (Shaun). The restaurant part also continues on the roof and the top roof. Some interesting elements, like blocks and dice of blocks, are used on the roof. The old staircase is also there as an exhibit. Reusing almost everything from the old “jatra” is seen everywhere. The thatched hut, with a mud-textured wall with traditional “Puthi art” throughout the wall continuing up to the roof in some places, bamboo seating, and a small “gamcha” patterned flag with cozy and warm light, ensures very selective usage of interior detailing and the right execution of the concept of distinct rural Bengal ambiance. The courtyard, or “Uthan, is the most original and core architectural element of every rural Bengal homestead. This courtyard is the main attraction of “Jatra Biroti,” surrounding which is all the thatched-roof lower seating area in a small raised plinth with bamboo-silted woven curtains and colorful artworks. The idea behind it was to recreate a traditional courtyard of the delta. To build a warm, inviting
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The LEGENDS OF CERAMIC INDUSTRY IN BANGLADESH
The ceramic industry in Bangladesh boasts a rich heritage and has produced several legends known for their significant contributions to ceramics and overall company formation. The industry has grown substantially over the past few decades, establishing itself as a leading sector in the country’s economy. In 1992, with the rapidly growing ceramic industry, a nationally recognized trade organization of manufacturers and exporters of ceramic tableware, pottery, tiles, sanitary ware, insulators, and other ceramic products was formed, called the Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA), under the leadership of many of these ceramic legends. Here, we highlight some legendary leaders and key entrepreneurs who have been instrumental in the journey of the ceramic industry in Bangladesh. These pioneers have laid the foundation for the thriving ceramic industry in Bangladesh, which now covers various subsectors such as tableware, tiles, sanitary ware, and ceramic bricks. Their legacies continue to inspire future generations of ceramic entrepreneurs and professionals. Mohammad Abdul Jabbar Known as the pioneer of the ceramic industry in Bangladesh, Mohammad Abdul Jabbar founded Tajma Ceramic Industries. His contributions laid the foundation for modern ceramic manufacturing in the country. The story of Tajma Ceramic Industries Ltd is quite fascinating. In 1958, the ceramic industry took its nascent steps with only one small tableware manufacturing plant in Bogura. Mohammad Abdul Jabbar, instrumental in promoting and advancing the ceramic factory in Bangladesh, was the Managing Director of the company until his death on May 7, 1985. Tajma Ceramic Industries, recognized as the oldest modern ceramic manufacturing plant in Bangladesh, marked the formal beginning of the ceramic industry in the country. It was the first ceramic earthenware plant to produce porcelain tableware using traditional methods. Tajma played a crucial role in pioneering porcelain tableware production using advanced technology for its time, inspiring many other manufacturers to follow suit. Ariff Wali Mohammed Tabani In 1958, Mirpur Ceramic Works Ltd in Dhaka began producing heavy clay products using German plant and technology, gaining a reputation for manufacturing the best quality ceramic bricks in the subcontinent. The late Ariff Wali Mohammed Tabani, known for his contributions to Mirpur Ceramic Works, played a key role in its evolution. Tabani was the founding Chairman and Managing Director until his death on December 7, 1990. Currently, the company manufactures various types of unglazed tiles and has established two more ceramic companies, Khadim Ceramics and Sunshine Bricks. Both Mirpur Ceramic Works Ltd. and Khadim Ceramics Ltd. have been synonymous with ceramic-based construction materials, manufacturing a comprehensive range of products including blocks, bricks, ornamental screens, claddings, pavers, roofing tiles, and floor and wall tiles, along with the necessary mortars. These materials have been pivotal in landmark projects nationwide, showcasing the group’s commitment to quality and innovation. Md. Abdul Hai Mohammad Abdul Hai was a visionary entrepreneur who founded the country’s first ceramic sanitaryware company, Dacca Ceramics and Sanitary Wares Ltd., in 1969. He embarked on a revolutionary journey in the ceramic sector with the aim of advancing the country through innovative ceramic products. Despite facing political unrest and significant challenges during the Bangladesh Liberation War in 1971, which led to the destruction of the factory and the loss of materials, Abdul Hai was determined to rebuild the company. After the war, he successfully revived the company in 1974. Dacca Ceramics became the country’s first non-heavy clay building ceramic plant and started the production of sanitaryware in Tongi, Gazipur. Under his leadership, the company grew to become a leader in the country’s ceramics industry, known for its high-quality, durable, and cost-effective products. Abdul Hai’s dedication and resilience played a crucial role in shaping the success of Dacca Ceramics, leaving a lasting legacy in the industry. Mr. Hai passed away on December 21, 1995. Ansar Uddin Ahmed A key figure in Peoples Ceramic Industries, Ansar Uddin Ahmed significantly contributed to the industry through innovation and quality control, helping the company gain a strong foothold in domestic market. In 1966, Peoples Ceramic Industries Ltd, formerly known as Pakistan Ceramic Industries and located in Tongi, Gazipur, began production using modern porcelain tableware manufacturing technology from Japan and started exporting their products. The late Ansar Uddin Ahmed, a respected entrepreneur, inspired many in the field. He was the Managing Director of Peoples Ceramic Industries and Standard Ceramic Industries Ltd and passed away on August 14, 2005. He served as the first President of BCMEA from 1992 to 2002, revolutionizing the export of local ceramic products Rashed Mowdud Khan As the Managing Director of Bengal Fine Ceramics Ltd, Rashed Mowdud Khan advocated for sustainable practices and modern technologies in ceramic production, enhancing the global reputation of Bangladeshi ceramics. In 1986, Bengal Fine Ceramics Ltd, the first stoneware tableware manufacturer in Bangladesh, entered both domestic and international markets. The late Rashed Mowdud Khan was a prominent figure in ceramics, known for his artistic and technical expertise. He served as the first General Secretary of BCMEA from 1992 to 2002 and President four times from 2003 to 2009. He passed away on January 9, 2011. Iftakher Uddin Farhad Mr. Iftakher Uddin Farhad was the Chairman & Managing Director of FARR Ceramics Ltd and served as the President of BCMEA in the 2011-13 session. Established in 2005, FARR Ceramics is a manufacturer and exporter of Euro Fine Porcelain tableware. The company began as an export-oriented business in 2007, producing hard porcelain tableware for both international and local markets. Located in Gazipur, Bangladesh, the plant is equipped with state-of-the-art European ceramics manufacturing technology from Germany and Italy, and decal printing technology from Japan. FARR Ceramics currently exports to 31 countries, from North America to Europe, the Middle East, and India, with a monthly production capacity of 2 million pieces. Mr. Farhad passed away on December 25, 2012. Golam Sabur Tulu The founder of Madhumati Tiles Ltd, Golam Sabur Tulu introduced advanced technologies and designs in ceramic manufacturing, significantly impacting the market in Bangladesh. He was a visionary entrepreneur who made significant contributions to the ceramic industry.
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A Story of Dreams & Determination: South Breeze Housing Ltd.
In the growing heart of Dhaka in the mid-1990s, three brothers stood at the crossroads of ambition and legacy. Aminur Rahman Khan, Anisur Rahman Khan, and M. Ashiqur Rahman Khan were driven by the vision to create something extraordinary—something that would not only honor the legacy of their father, the late M. Abdur Rouf Khan, a pioneering businessman in Bangladesh’s shipping industry, but also transform the way people experienced home. With this dream, South Breeze Housing Ltd. was born in 1995. In their early days, the brothers set their sights on Dhaka’s most coveted neighborhoods—Gulshan, Dhanmondi, and Baridhara. They understood that homes weren’t just structures of concrete and steel but sanctuaries where lives unfolded. They poured their energy into designing residences that offered not just comfort but also an elevated lifestyle. Their first projects quickly gained attention. Each building was a statement of architectural innovation and uncompromising quality. As word spread, South Breeze became synonymous with exclusivity and refinement, setting a new standard for real estate in Bangladesh. “South Breeze is a trailblazer in the real estate industry; they were the first to believe in my vision,” shared Rafiq Azam, the renowned architect of Bangladesh. His firm, Shatotto Architecture for Green Living, has been collaborating with South Breeze Housing Ltd since 1998, being one of the pioneers to facelift the look of the residential real estate. A true artist, Azam seamlessly integrates his creative vision into the buildings he designs, setting his work apart. South Breeze’s ethos was clear: every detail mattered. From meticulously designed single-unit apartments to duplexes with breathtaking views, each project spoke to the company’s relentless pursuit of perfection. Collaborating with the country’s finest architects and engineers, they created masterpieces like ‘South Ripple’ in Gulshan, where residents could wake up to serene lakeside views, and ‘South Terrace’ in Baridhara, a collection of sprawling single-unit homes that felt like a retreat in the middle of the city. This achievement was made possible by Rafiq Azam’s boldness in challenging conventional norms. Reflecting on his inspiration, he shared, “I spent time in Puran Dhaka and noticed how open their houses are—the rooftops are close, the walls are low, and people feel more connected. This inspired me to think, why not use glass walls at the front of my apartments as a breath of fresh air, instead of the usual long concrete walls with barbed wires?” ARCHiTECTURE BEGAN TO CHANGE. PEOPLE STARTED NOTiCiNG THE DiFFERENCE. I BELiEVE WE ARE A COMMUNiTY, AND WALLS ONLY SERVE TO SEPARATE US FROM SOCiETY. THE GROUND FLOOR OF ANY BUiLDiNG iS CRUCiAL—iT SHOULD BE A SHARED SPACE FOR iNTERACTiON, CREATiNG ROOM FOR GREENERY, A PLAYGROUND FOR CHiLDREN, AND A CLEANER, MORE WELCOMiNG WALKWAY Their projects weren’t just buildings—they were homes that told stories, each uniquely tailored to the dreams of their residents. With walls made of glass, lush green porches, and thoughtfully designed playgrounds for children, these spaces fostered a sense of community while blending functionality and artistic vision seamlessly. “My main priority is that the buildings must be green—they need to have grass and plants so that the residents still feel connected to nature. There should also be a waterbody surrounding the building or a pond at its center,” shared Azam. His innovative approach paid off when the company’s out-of-the-ordinary architectural designs caught the world’s attention in 2017. Rafiq Azam won the ‘Cityscape Awards,’ a global accolade for outstanding architecture. This wasn’t just a win for South Breeze but a moment of pride for Bangladesh. Today, South Breeze continues to redefine luxury living. Their portfolio includes stunning developments like ‘South Supreme’ with its rooftop lap pool and panoramic views and ‘South Spring,’ a tranquil haven beside Dhanmondi Lake. Each project reflects the company’s deep understanding of its clients’ needs: privacy, sophistication, and a connection to nature. However, when architect Azam first embarked on his journey, his unconventional approach was met with skepticism. Many doubted the practicality of incorporating nature into buildings, fearing that it would lead to damp walls and significantly higher costs. His innovative requirements, such as large windows for enhanced ventilation, natural light, and expansive views, as well as the use of glass walls and exposed concrete instead of painted surfaces, were considered radical at the time. Despite these concerns, Azam remained steadfast in his vision. “Architecture began to change from that point,” Azam reflected. “People started noticing the difference. I believe we are a community, and walls only serve to separate us from society. For me, the ground floor of any building is crucial—it should be a shared space for interaction, not just a parking lot. That’s why I chose to position the cars at the back, creating room for greenery, a playground for children, and a cleaner, more welcoming walkway.” There was a time when there was no space to add plants in front of the building, so in 2002, I decided to take the garden to the roof—a concept that was considered impossible back then. But I made it happen. I transformed the roof into a thriving garden, which was greatly appreciated by the residents. The innovative decisions taken by South Breeze not only provided them with a significant business advantage but also solidified their reputation as leaders in the industry, thanks to their ability to break barriers and embrace bold ideas,” he added. Rafiq Azam did his job as an architect, but South Breeze took care of his art, making sure they did not lose their value over the years. “I owe it to South Breeze for where I am today and making my architectural dreams come to life,” he concluded. As they continue to expand their portfolio and take on new challenges, one thing is certain: South Breeze isn’t just building homes—they’re shaping the future of living. For those looking for a home that tells a story as unique as theirs, South Breeze offers not just a residence but a legacy. This made South Breeze offer more than a luxury but a lifestyle. Families who move
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Chattogram Hill Tracts Complex: Preserving the values of the people of hills
The complex was designed with one mission in mind: to give visitors the impression that they are experiencing a piece of the Chattogram Hill Tracts right in the heart of bustling Dhaka. The complex serves as a pivot between the people, and architecturally, it has achieved in taking us close to experience Chattogram Hill Tracts without having to travel 300 kilometers. This cultural complex consists of an office building, library, multipurpose hall, amphitheater, restaurant, public plaza, sculptures, and water body in the 2 courtyards, souvenir shops, etc. The public places of this complex are designed in a way to facilitate communal meets, fairs, and cultural events in the public and semi-public zones. Layout, zoning, planning, and construction of the entire complex were modeled after, or at least resembled, structures hailing from the hill tracts, using their common building materials like bamboo, straw, cane, and thatched roofs, which were initially used. A distance of 300 kilometers keeps Dhaka people from experiencing the rich cultures of the Chattogram Hill Tracts (CHT). To bridge that, the Chattogram Hill Tracts Complex has been constructed on Bailey Road, in the heart of the capital city of Bangladesh. This government project has also brought the deeply cultural people of the CHT closer to the Dhakaites. The primary concept behind this 2-acre complex was to serve as a common gathering space where children of hills and city people can come together, as well as exchange intercultural values. To strengthen the complex, modern materials like reinforced concrete and rods were used around it but not to take away its vernacular architectural roots from it. For example, thatched roofs of huts are trussed up with external support struts or buttresses made of very basic material but with superior compressive strength—bamboo. However, the aluminum beams propping up the surrounding top floor serve that symbolic role. The complex was designed with one mission in mind: to give visitors the impression that they are experiencing a piece of the Chattogram Hill Tracts right in the heart of bustling Dhaka. A sloped garden and a fountain mimicking the trickling down of water from a hill face welcome visitors. The sound of water trickling can trick the mind that one is standing next to a natural fountain if they are leaning into the experience. The grand amphitheater is yet another attraction of the Chattogram Hill Tracts Complex. Besides functioning as a venue for plays and shows, this open-air amphitheater can be a wonderful place to sit and enjoy the quiet and spatial experience of this state-of-the-art complex. North of the amphitheater is a crescent-shaped artificial water body. Many beautiful sculptures are displayed between the water body and the amphitheater. These two attractions are joined by a spiraling staircase. The sloped garden on the side of the elevated amphitheater gives a visitor the impression of standing atop a hill. However, visitors will be greeted by beautiful waterscapes at the entrance, even before they reach the best part. The neat waterbody is depressed into the ground, and its step design can remind one of the Rajsthani Chand Baori, although a lot less elaborately. This should give an idea of the extensive care that was spent constructing this complex, which is meant to bolster relations between two peoples. And whether one would like to collect a souvenir, they can do so at the entrance where the souvenir shops are, next to the water body, or they may get their souvenirs at the end of their stay, since the shop would be in the way either way. The number of elements in the complex is high. Yes, there are public spaces that hold all the pretty water bodies and sculptures, semi-public spaces comprising administration buildings, and private spaces that form up a minister’s bungalow, chairman’s bungalow, and dormitories and suites for officials. Yet, the entire complex boasts ample open space through which sufficient air and light flow through without much hindrance. Nooks and crannies of this large project are given room to grow green grass and plants wherever possible. Grass aside, walkways are divided up by lines of pebbles between brick and tile floors, occasionally having concrete stepping slabs. To design freely with nothing held back is one way to go. The designer might as well create something completely fresh and be applauded for it. However, fusion, on the one hand, means staying truthful to each element in the blueprint, and, on the other hand, it also means having to come up with something different by mixing two or more elements. Architects with extensive experience and a clear vision are then responsible for achieving this. Restrictions of conforming to design elements from the hill tracts while embracing modernity were there, but the finished outcome, it seems, has achieved the desired fusion. A fine balance between modern versus nature is evident in this complex. And yet, the interior design of the Chattogram Hill Tracts Complex is a very different picture. Every inch of its interior oozes modernity in every way possible. Hanging staircases supported by high-tensile steel cables, lofty ceilings with wooden panels for ultra-modern design, soft, warm ceiling lights, squeaky clean floor tiles throughout the interior, etc., all add up to the modern style of interior decoration. Since its inception in 2022, the Chattogram Hill Tracts Complex has already hosted two full-fledged Mela (fairs). Culturally, the complex serves as a pivot between the two peoples, and architecturally, it has achieved in taking us close to a CHT experience without having to travel 300 kilometers.
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Noubliez Pas Novera
THE WAYS NOVERA PLAYED WITH FORMS AND SHAPES ON HER BEST SCULPTURES HAVE AN INEXPLICABLE AURA THAT CAPTIVATES AND TAKES YOUR SOUL TO A SPACE THAT IS SOMEWHERE BETWEEN THE VAST ABSTRACT AND YET TANGIBLE. In August of 1960, on the ground floor of the Central Public Library building of the University of Dhaka, showcasing 75 of her artworks sculpted between 1956 and 1960, Novera Ahmed had her first solo exhibition titled “Inner Gaze.” This formidable exhibition arguably sparked the genesis of modern sculpting practice in both West and East Pakistan (now present-day Bangladesh). She was the first-ever sculptor from the undivided Pakistani region. Novera Ahmed was born on March 29, 1939, in Kolkata, British India, and on the occasion of her 85th birthday, this attempt is to reminisce about one of the finest artistic personages from this part of the world. Today, Novera’s importance is cemented in the history of art in this region, and it seems that she has a newly found celebrity status, especially amongst the younger generation of art enthusiasts, but for decades and even today, to a significant extent, Novera’s public repute mostly synonymizes as enigmatic. But Novera should not be important because of her public portrayal that branched from her peers: that she was a good-looking female artist of prodigal calibre who worked and lived independently as a divorcee in a patriarchal society; the way she did her buns and draped herself in black sari and curated her look as Baishnabi wearing Rudraksha garland and tilak on her forehead; that she used to exploit her male peers; that she had a sentiment because of the way she was gazed upon and which is why she eventually left Bangladesh; the list of such narratives that circulated her is pretty long. Novera is important because of her artworks; the quality of her artworks effortlessly transcends the tags she was associated with, which boxed her only as an eccentric rebellious character, undervaluing her art. The ways Novera played with forms and shapes on her best sculptures have an inexplicable aura that captivates and takes your soul to a space that is somewhere between the vast abstract and yet tangible. Novera used to travel around and gradually minimised her activity in the local art scene. Her complete disappearance from the scene in 1970 after she permanently moved to France eventually turned her into a myth. Later, she married the love of her life Gregoire de Brouhns in 1984. Although there is no concrete evidence regarding why she left, it is speculated that the key reasons are monetary and no recognition even from her peers. Belonging to a middle-class background, she almost single-handedly established a medium that was still very new in the region so there were not many commissions for her so she could continue her practice and earn a decent living. There was also an uncanny silence from her peers, which only fueled the collective negligence towards her. Even in the artist community, she was only remembered as an amateur female sculptor. In fact, for a while, it was even established that she was dead, and it was only in late 1998 after a brochure of her 1960 exhibition was found, that it catalysed the rebirth of discussions about artist Novera Ahmed. Although Novera studied in Europe and like many other artists, had that influence on her works in her earliest years, very soon she found her style. If we examine Novera’s available discography of sculptures and paintings, it resembles the wide array of subject matters she had her interests. Notably, in artworks from her formative years, it is very evident how much she was fascistically influenced by her roots. The way she took Bengali folk elements and ethereally blended them within her modernist approach of practice shows how revolutionary she was. Novera’s idea of using cement instead of large blocks of stone or wood, as they are scarce in this region, and sculpting such smooth cement sculptures, which is very difficult to accomplish, shows both her innovativeness and technical prowess. When she started traveling to Southeast Asia, she decided to collect scrap metal from the debris of the U.S. Air Force plane used in the Vietnam War and use it as materials for her newer sculptures at the time. For a long period, little to no care was taken to preserve most of Noveraís works that are in Bangladesh. In fact, for a while, it was even established that she was dead, and it was only in late 1998 after a brochure of her 1960 exhibition was found, that catalysed the rebirth of discussions about artist Novera Ahmed. She was also highly influenced by Indigenous and Buddhist themes; in fact, she once said that the form of the concrete structures of the Shaheed Minar (which she co-designed with another notable artist, Hamidur Rahman—a topic that still has loads of debate regarding who came up with the original idea) is inspired by the idea of an ascending hand of Buddha. The long list of her oeuvres includes works like Cow With Two Figures (1958), Serpent Nommé Désire (1972), Le Djinn (1973), Le Heron (1982), Le Baron Fou (2001), etc. In her France years, even after Novera was wheelchair-bound after a life-altering car accident, she continued working with her forever devotion and love towards art, till she was bedridden due to health complications when she was older and eventually passed away on May 6, 2015. For a long period, little to no care was taken to preserve most of Novera’s works that are in Bangladesh. The whereabouts of many of her works are yet unknown, and the ones that survived did so due to her patrons and private collectors. A collection of her works and memorabilia is at the Musee Novera Ahmed at La Roche-Guyon in northern France which was set up by her dear husband. Currently, only 33 of Novera’s sculptures are in the collection of the Bangladesh National Museum, and the gorgeous frieze that she
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Reviving Our Roots A Journey of Abu Sayeed M. Ahmed From Legacy To Leadership
While many architects push the boundaries of innovation, there have been some who charted a different course. Instead of focusing solely on creating the new, Architect Dr. Abu Sayeed M. Ahmed turned his gaze to the past—reviving forgotten monuments and ancient buildings. A pioneer in conservation architecture, he has dedicated his life to protecting and restoring the architectural jewels of Bangladesh. For Dr. Sayeed, preserving heritage is not just about safeguarding structures; it’s about understanding who we are and how the past shapes our identity today. From restoring historic mosques and colonial buildings to leading the Institute of Architects Bangladesh as president thrice in a row and serving as the elected president of ARCASIA on an international level, his contributions have earned him both national and global recognition. As an educator and author, his efforts in heritage protection continue to inspire future generations of architects. Dr. Sayeed’s legacy as a guardian of Bangladesh’s architectural treasures makes him an enduring force in both the past and future of the nation’s architectural identity. A pioneer in conservation architecture, he has dedicated his life to protecting and restoring the architectural jewels of Bangladesh. For Dr. Sayeed, preserving heritage is not just about safeguarding structures; it’s about understanding who we are and how the past shapes our identity today. From the Water’s Edge: A Childhood in Comilla Long before the architectural world knew his name, there was a young boy in Comilla, Bangladesh, who spent his days by the waterside, watching the reflections of ancient trees shimmer in the lights and ponds. In this quaint town, the city’s water bodies—like Dharmasagar and Rani’s Dighi—were more than mere landmarks; they were playgrounds, gathering spots, and the backdrop to countless moments of childhood joy. Football games often ended with a refreshing dip in the cool waters, and laughter echoed across the banks, blending with the gentle sounds of nature. That little boy, Abu Sayeed M. Ahmed, found joy in simple things like drawing intricate sketches, building models, and creating Eid cards. His love for the technical precision of his creations grew in the quiet corners of his home and school, unknowingly laying the foundation of his future as an architect. Abu Sayeed’s fascination with design was nurtured by his father, Abdur Rashid, a principled educator, and his mother, Helena Begum, whose warmth and love kept the heart of their home alive. The roots of his curiosity about history and architecture grew deep in the soil of Comilla, where he first learned to see beauty in the details around him. Even as a student at Comilla Zilla School and later Comilla Victoria College, Sayeed stood out. His involvement in Scouting allowed him to explore Bangladesh’s landscapes, meet people from different walks of life, and develop a strong sense of leadership. By the time he graduated in 1976, these experiences had shaped his collaborative spirit and a love for discovery—qualities that would define his career for years to come. His bond with his architecture batchmates was legendary. Known as the “batch of talents,” they shared a camaraderie that extended beyond classrooms. From organizing grand tours across India and Bangladesh to planning picnics, Sayeed often emerged as the natural leader. His ability to bring people together flourished during these years, and the friendships he built remain strong to this day. In 1983, he graduated with a Bachelor of Architecture, ready to leave his mark on the world. Stepping Into a New World: The BUET Years In 1976, Abu Sayeed entered BUET’s Department of Architecture, a choice that marked the beginning of a transformative chapter. Life at BUET was unlike anything he had known. Sharing dormitories with students from other disciplines introduced him to diverse perspectives. While his engineering peers were deep in equations, Sayeed and his classmates were sketching, brainstorming, and working late into the night on design projects. The Architect Emerges: Early Projects at ECBL Sayeed’s first professional step was joining the consultancy firm ECBL, where he worked for four years. It was a period of intense learning and growth. He became involved in landmark projects such as the Bangabandhu Hall of Dhaka University, Nagar Bhaban, the Air Force Academy in Jessore, and the Dhaka Cantonment’s central mosque and library. These projects gave him firsthand experience in balancing design with functionality. His natural f lair for leadership and meticulous approach to detail made him an asset to the firm. However, Sayeed knew his journey was far from over—he dreamed of exploring new horizons. A New Chapter in Germany: Rediscovering Bangladesh In pursuit of higher education, Abu Sayeed M. Ahmed embarked on a bold journey to Germany to pursue his master’s degree in architecture. Before leaving, he received two meaningful gifts—one from Lailun Nahar Ikram, the Managing Director of ECBL, who gifted him $1,000, and another from Prof. Abu Haider Imam Uddin, a colleague at ECBL, who presented him with the book Islamic Heritage of Bangladesh by Dr. Enamul Haque. Little did he know, this book would become a faithful companion in his new chapter abroad. The transition was anything but easy. Sayeed had to learn German from scratch, adapt to a foreign culture, and navigate a competitive academic environment. He lived in a hostel with students from all over the world, and conversations inevitably turned to his homeland. “What makes your country special?” his peers would ask. At first, Sayeed found himself at a loss for words, unsure of how to convey the richness of Bangladesh’s heritage. But then, the book he had been gifted came to his mind. The book Islamic Heritage of Bangladesh became his bridge to the world. He started to share Bangladesh’s architectural treasures—the Sixty Dome Mosque, the Small Sona Mosque, then the Paharpur Monastery, Mahasthangarh, and so on. His peers were astounded. “Bangladesh has a heritage this rich?” they asked, their eyes wide with surprise. They had never imagined that such ancient, awe-inspiring architecture existed in a country they often perceived as impoverished. These moments sparked something
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FROM UP ON MAJESTIC HILLS FROM UP ON MAJESTIC HILLS THE PICTURESQUE BEAUTY OF RESORTS
Discovering A Gem Like Sairu, Amidst The Serena Hills Of Bandarban, Will Feel Like Uncovering A Hidden Treasure. The Experience Will Be Nothing Short Of Magical, Blending Natural Beauty With A Sense Of Tranquility That Only The Mountains Can Provide. Sairu is a contemporary eco-resort that blends modern luxury with natural harmony. Designed with sustainability in mind, it incorporates local materials like stone and bamboo to create a rustic yet refined aesthetic that seamlessly integrates with the surrounding environment. If given a choice between the beach and the mountains, I wouldn’t hesitate to pick the mountains. Exploring mountainous terrain has always been a source of joy for me, and discovering a gem like Sairu, amidst the serene hills of Bandarban, felt like uncovering a hidden treasure. The experience was nothing short of magical, blending natural beauty with a sense of tranquillity that only the mountains can provide. The resort is around a 40-minute drive from Bandarban town. Upon entering the compound of Sairu, the f irst thing that will grab your attention is how everything looks in place and blends effortlessly with the surrounding topography. There is not a single element or structure you will find there that is off-putting. To the entrance left of lies the the reception and dining area, nestled beside a tranquil water body. From the hanging balcony of the eating zone, the panoramic view of the towering hills and the Shanghu River is breathtaking, offering a visual feast that captures the essence of Bandarban’s serene charm. To the right of the entrance, cottages are arranged in terraced layers along the hillside, accessible only via steps. For those less accustomed to physical activity, the steep climb might feel challenging, especially with frequent trips. However, the effort is well rewarded with changing, picturesque views at every turn. Mini golf carts are available for transporting luggage and assisting individuals with disabilities. At the hill’s summit lies the infinity pool and jacuzzi, offering unparalleled vistas. Rest stops throughout the resort invite you to pause and enjoy the stunning beauty of Bandarban. Long ago in Bandarban, a Mro princess named Sairu fell in love with a prince from a rival hill tribe, defying tribal rules. Their secret meetings ended tragically when the prince was forced into an arranged marriage. Heartbroken, Sairu disappeared into the hills. The resort is named after this story, with “Sairu Point” marked by entwined trees on a hill, symbolizing their love. The Sairu Hill Resort draws its name and logo from this legend, preserving its memory for visitors to honor. Sairu is a contemporary eco-resort that blends modern luxury with natural harmony. Designed with sustainability in mind, it incorporates local materials like stone and bamboo to create a rustic yet refined aesthetic that seam lessly integrates with the surrounding environment. The cottages at Sairu are thoughtfully priced, offering options tailored to your preferred view. Each cottage features a private balcony and a spacious washroom with a unique, nature-facing concrete bathtub—a rare luxury in the country. The rooms are generously sized and adorned with colorful jute rugs, bamboo curtains, and furniture crafted from tree logs. A standout piece is the giant coffee table, made from a single slice of a tree trunk. Modern amenities such as toiletries, skincare essentials, laundry services, and safes ensure a comfortable stay. The culinary excellence of the resort is also a notable mention if you are into local cuisine. Their downhill restaurant provides all kinds of meals and offers both à la carte menus with diverse cuisines and buffet options. Open to all visitors, not just guests, it welcoming provides space a for anyone looking to enjoy a meal amid the serene surroundings. There is also a badminton court in another part of the downhill. The resort’s design and execution were spearheaded by DOMUS, a renowned architectural consultancy in Bangladesh, with Principal Architect Mustafa Ameen envisioning a “less is more” approach. The master plan was crafted to respect the natural terrain, with structures elevated on steel stilts to preserve the contours and existing trees left untouched. Additional greenery enhanced the landscape, ensuring harmony with the surroundings. Maximizing panoramic views, the design integrates modern luxury with environmental sensitivity, with the only major alteration being the driveway carved into the hill. Water was sourced from a spring 1,200 feet below, showcasing remarkable ingenuity. The mornings at Sairu are invigorating, with a gentle breeze whispering through the trees, while nighttime transforms into a magical spectacle, as the starlit sky casts an enchanting spell, leaving visitors in awe. Once you are inside Sairu, you will not feel the need to go elsewhere, as the tasteful setup with modern amenities will you amazed. But, yet, if you have plans to keep explore the surroundings, Sairu will arrange that for you. You can rent a jeep or CNG from them and explore the nearby tourist attractions like Nilgiri Mountain. Written By Kaniz Supriya
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Akij Ceramics Wins Best Brand Award for Sixth Consecutive Year in 2024
In a remarkable embodiment of consistency and excellence, Akij Ceramics has once again been honored with the prestigious “Best Brand Award” for the sixth consecutive year in 2024. This distinguished achievement solidifies Akij Ceramics as the undisputed industry leader, clearly showcasing that they are far ahead of any other competitor in the ceramic tiles industry of Bangladesh. Since first receiving the Best Brand Award in 2019, Akij Ceramics has continuously won the hearts of consumers, reinforcing its position as a brand that epitomizes quality and trust. The company’s unwavering commitment to its guiding philosophy, “Promise of Perfection,” has been the cornerstone of its unparalleled success, inspiring loyalty and confidence among its customers year after year. The “Best Brand Award”, organized by the Bangladesh Brand Forum, honors brands that have demonstrated exceptional dedication and success in their respective industries. In 2024, this prestigious accolade was awarded to 44 brands across various categories, alongside the Top 15 Overall Brands of Bangladesh. The rigorous selection process, which involved detailed consumer surveys and expert evaluations, highlights the prestige and significance of this honor, and further elevates Akij Ceramics’ status as the undeniable leader in the industry. As Akij Ceramics celebrates this remarkable milestone, the brand remains focused on setting new benchmarks in quality, innovation, and customer satisfaction. With a clear vision to continue redefining the ceramic industry, Akij Ceramics is poised to maintain its legacy of perfection for many more years to come, staying far ahead of its competition and continuing to lead the way in the industry.
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The 39th edition of Ceramic China
On December 17, Unifair Exhibition Service Co., Ltd. officially signed the long-term strategic cooperation agreement with ACIMAC (Association of Manufacturers of Machinery and Equipment for Ceramics). From 2025 onwards, ACIMAC, as the Overseas Official Sponsor of CERAMICS CHINA, will bring Italian leading technologies and solutions to be grandly presented as Italian Pavilion at CERAMICS CHINA. Spanning nearly four decades, CERAMICS CHINA has been currently one of the world’s largest industry event for ceramic equipment, technology and materials. With excellent enterprises and industry elites convened, the exhibition provides the super-excellent platform of technical exchange and business cooperation for the whole industry by pooling the innovations and wisdom of global ceramic professionals, driving the sustainable advancement for the ceramic industry worldwide. As the world leader in ceramics technology, Italy is renowned globally for its advanced technologies and design concepts in the ceramic sector. Therefore, the participation of Italian Pavilion is not only a critical focus for the ceramic market in Asia, but also a full recognition of CERAMICS CHINA in the long run. Mr. Gian Paolo Crasta General Manager ACIMAC “As the global ceramic industry is going through the critical period of transformation and high-quality development, the best time for Italian Pavilion to CERAMICS CHINA has become ripe. As the Overseas Official Sponsor, we will fully organize and support more Italian enterprises in attending this important event. The exhibition allow Italian companies for a more comprehensive demonstration of leading technologies and excellent solutions, assisting more ceramic producers in digital transformation, production efficiency, cost reduction and sustainable development.” Ms. Han Xiuping Managing Director Unifair Exhibition Company “CERAMICS CHINA has grown and expanded over nearly four decades, becoming the benchmark for ceramic technology advancement and a booster for industry development. It constantly boasts a large number of exhibitors from home and abroad and a vast global buyer community. The participation of the Italian Pavilion will bring more international attention and innovative vitality to CERAMICS CHINA, while providing brand new opportunities for the integrated development of the ceramic industries in both China and Italy.” To appreciate the technical innovative vitality and explore new path for company development, follow CERAMICS CHINA from June 18-21, 2025 in Area A, Canton Fair Complex in Guangzhou!
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SACMI donates a vehicle to Auser Imola
To mark its 105th anniversary, the company makes a donation designed to support the community’s most vulnerable. The President of SACMI, Paolo Mongardi: “A small yet significant initiative to help improve services available to those with disabilities. On the occasion of this major anniversary – and with the Festive Season approaching – we again renew our close ties with the local community” Imola, 18 December 2024 – On the occasion of its 105th anniversary and with the Christmas holidays fast approaching, SACMI renews its commitment to the local community with a special donation: a specially-equipped vehicle for the Auser Imola association to transport people with mobility difficulties. This latest project is part of a long tradition of solidarity and attentiveness to community needs, particularly as regards services for the most vulnerable sections of society. To meet the requirements indicated by Auser Imola, a VW Caddy – specially adapted for wheelchair users – was chosen. With over 100 active volunteers and more than 7,000 transports completed in 2024, the association provides valuable daily support for citizens who need to access social-healthcare facilities in the city center or at the main regional hospitals. The 105th anniversary offers a major opportunity to reassert our values and our ties with the local populace,” highlights SACMI President Paolo Mongardi. “For us, being an active part of local society means improving quality of life for the neediest. That’s why we’re proud to support Auser Imola and the vital work it does for those who have to deal with mobility and isolation issues on a daily basis.” The vehicle, already in use at Auser Imola, was adapted by a specialized company to transport people with mobility difficulties, ensuring they can count on the highest standards of safety and comfort. This latest SACMI donation will help replace obsolete vehicles and improve the efficiency of services offered by the association, which often transports dialysis patients to hospital and the elderly to local day care centers. “We’re extremely grateful to SACMI for this donation as it allows us to respond effectively to growing demand for transport services for the vulnerable,” explains Ivan Mazzanti, President of Auser Imola. “Following the increase in demand for such services after the pandemic,” observes Mr. Mazzanti, “this latest initiative plays a crucial role in helping us renew our commitment to those in need, guaranteeing dignified, safe transport for those who rely on us every day.”
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Paolo Mongardi receives an Honorary Master’s Degree in Management Engineering
Unimore has awarded an Honorary Master’s Degree in Management Engineering to Paolo Mongardi. The ceremony, held in the Aula Magna of the Reggio Emilia ‘Digital Hub’ and attended by Rector Carlo Adolfo Porro and other key figures from the university, concluded with the graduate’s Lectio Magistralis. The University of Modena and Reggio Emilia has awarded Paolo Mongardi, President of SACMI, an Honorary Master’s Degree in Management Engineering. The ceremony was held in the Aula Magna of the Reggio Emilia Digital Hub and attended by the Rector, Prof. Carlo Adolfo Porro, lecturers and numerous other guests. Born in Imola in 1964, Paolo Mongardi began his career at SACMI in 1985 as a mechanical designer after graduating from the F. Alberghetti Technical Institute with excellent grades. During his career he has held positions of increasing responsibility, working on patent development and coordinating complex projects. He has been a member of the Board of Directors since 2001, first serving as Secretary and subsequently Vice-President. In 2013 he became President of SACMI: in this role, he has guided the company through a period of significant economic and employment growth. During Mongardi’s presidency SACMI’s corporate assets have grown from €436 million to €883 million, sales revenues have exceeded the €2 billion mark and the number of employees has increased from 1,700 to over 5,000. During this time the company has also introduced a Code of Ethics, published Sustainability Reports and promoted ESG-driven policies that focus on innovation and are attentive to the needs of local communities. Throughout his managerial career, Mr. Mongardi has built partnerships with over fifty universities and research facilities. He has also held key positions in national associations and cooperatives, such as Legacoop and ACIMAC The awarding of this honorary degree was proposed by the Department of Engineering Sciences and Methods (DISMI) and approved by the Academic Board. During the ceremony, Prof. Massimo Milani, Head of DISMI, illustrated the reasons behind this recognition, highlighting Mongardi’s contribution to industrial development and the closer ties that now exist between the worlds of academic research and manufacturing. Furthermore, during the traditional laudatio, Prof. Monia Montorsi illustrated Mr. Mongardi’s role in promoting future-focused management models. At the end of the ceremony, the honorary Doctor Mongardi held a lectio magistralis. “This honorary Master’s Degree has been awarded to Paolo Mongardi in recognition of his leadership, which has transformed multiple, complex industrial realities into solutions that look to the future. Mr. Mongardi’s work illustrates why links between academia and business should not be limited to sporadic projects but, rather, based on structured ongoing relationships that aim to share skills and knowledge. His career demonstrates – particularly at a time when the global outlook requires a profound re-think of production models – that sustainability is crucial, a tangible strategy for building economic and social solidity.” “Outstanding business management, a propensity for technical and organizational innovation, the commitment and skills he has brought to high-caliber roles, the sensitivity always shown towards the cooperative aspects of work and his respect for the communities that host industrial development, not to mention his contribution to the development of our own University, all testify to Paolo Mongardi’s personal and professional qualities: qualities that have spurred us to award him an Honorary Degree in Management Engineering”, stated Prof. Massimo Milani. “I have given my entire professional life to this company”, points out Paolo Mongardi. “I dedicate this prestigious award to the wider SACMI family: 5,200 people around the globe whose passion and commitment contribute to extraordinary results every single day. This Degree, awarded to me by one of the oldest and most venerated European universities, offers an opportunity to highlight the history and success of a model that produced the first Italian manufacturing cooperative, a model that is now part of the economic heritage of Emilia-Romagna and, indeed, Italy. All in the name of a principle that has been part of our cooperative since its founding: to deliver a better company and a better society to future generations”.
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Rasheed Islam Elected as the Director of DCCI for 2025-2027
Rasheed Mymunul Islam, Managing Director of Monno Ceramic, has been elected as a Director of the Dhaka Chamber of Commerce & Industry (DCCI) for the term 2025-2027. The newly appointed board of directors officially took charge during the 63rd Annual General Meeting (AGM) of the Chamber, which was held on December 15, 2024, at the Chamber’s Auditorium in the Motijheel area of the capital. Mr. Rasheed Mymunul Islam joined the Monno Group in 2008 as the Operations Director at Monno Ceramic. He began his career on the production floor to gain comprehensive knowledge about tableware manufacturing. As he progressed through the corporate ranks, he was appointed Managing Director in 2019. During his tenure, he has successfully implemented state-of-the-art manufacturing machinery, significantly improving Monno’s product quality, upholding the brand image, and increasing production capacity. He ensures the factory operates at peak efficiency while managing and executing Monno’s global strategy. He is one of the youngest directors of the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA). This position enables him to collaborate closely with other ceramic manufacturer owners to develop strategies and policies in partnership with the Bangladesh government, aimed at further enhancing the ceramic sector. He was awarded the ‘Ten Outstanding Young Persons (TOYP) Award 2022’ by Junior Chamber International (JCI) Bangladesh, in recognition of his significant contributions to business accomplishment. He is also an active member of Dhaka Club Ltd., Gulshan Club Ltd., and Banani Club Ltd.
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Monno Ceramic Marks 40 Years of Artisanal Excellence
Pioneering and renowned ceramic tableware manufacturer and leading exporter in Bangladesh, Monno Ceramic proudly celebrates 40 Years of Artisanal Excellence by delivering exquisite tableware ceramic products and services to its valued customers for the last four decades. Since its inception in 1984, the company has evolved into a trusted household name, renowned for its design, quality, innovation, perseverance, and unwavering commitment to excellence. With the slogan “সারা বিশ্বে, মুন্নু শীর্ষে“, Monno Ceramic hosted the gala event on 15th November at Factory Bungalow, Islampur, Dhamrai. This event honored the legacy of the company’s founder, the contributions of its workers, and employees, and the loyalty of its customers. The event was graced by the presence of Monno Ceramic’s Chairwoman, Ms. Afroza Khanam, Vice-Chairman, Mr. Moynul Islam, Managing Director, Mr. Rasheed Mymunul Islam, and other senior officials. Monno Ceramic has been a reliable household brand in Bangladesh and achieving such milestones further solidifies the brand image and the vision the company continuously strives to achieve. With a state-of-the-art production facility, intensive research and development, internationally sourced raw materials, and extensive marketing activities, Monno Ceramic has been able to retain its market presence as the most trusted ceramic tableware brand in the world. Speaking about the milestone, Mr. Rasheed Mymunul Islam, Managing Director extends his heartfelt gratitude to everyone who has been part of this incredible journey and looks forward to shaping a brighter and more innovative future. Monno Ceramic team would like to thank all of its customers, stakeholders, and well-wishers for this joyous event, and dedicated this accomplishment to all of them.
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5,000 people join SACMI’s 105th ‘birthday party’
The Open Day held on Saturday 30 November was a huge success. Early in the morning, hundreds of citizens started arriving at the headquarters in via Selice Provinciale, Imola: a unique opportunity to bring the entire community into contact with SACMI’s production and innovation hubs, with tours and even special events for the younger visitor. SACMI President, Paolo Mongardi: “A wonderful way to bring as many people as possible into our world, to have them share in our celebrations and to strengthen the long-standing ties between SACMI and the local community”. On Monday 2 December, in Auditorium 1919, the celebrations were brought to a close with a presentation of the book “SACMI, from workshop to worldwide success. Origins of an extraordinary cooperative experience”, by Valter Galavotti On Saturday 30 November almost 5,000 people celebrated SACMI Imola’s 105th ‘birthday’. Early in the morning, hundreds of citizens began gathering at the entrance in Via Selice Provinciale, eager to take part in an Open Day intended to give everyone a close look at the ‘SACMI world’: a world that spans from manufacturing to the cutting-edge research with which SACMI is building the factories of the future. Guided tours of SACMI’s production and innovation hubs The main event of the day was a 13-stop tour of the factory to explore key areas of SACMI production and innovation: from the Rigid Packaging Lab (where new low-environmental-impact caps in cellulose fiber are being designed) to the department that assembles and tests the industrial presses used to make everyday ceramic and metal items. It was also an opportunity to introduce visitors to some of the lesser-known parts of the factory, such as the machine tool department: 5,000 m2 of pure technology where metal parts (e.g. molds for cap presses) are made with micrometric precision. Needless to say, the tour also covered AI and, more generally, advanced Quality Control systems that simplify workers’ tasks, taking process control into the realm of consistent, worry-free quality. The Ceramic and Whiteware Labs also played key roles. The former showcased novel uses for ceramic, such as the large decorated slabs that can, with SACMI Continua+ technology, be transformed into valuable kitchen tops, tables, etc. or the latest super-thin, sustainable, easy-to-lay tiles that offer new opportunities in furnishing. The Whiteware Lab, instead, is where – with the aid of articulated robots – a wide range of sanitaryware articles are produced inside automatic, unmanned cells that perform automated finishing and achieve near-complete recovery of the water used in the process. The factory through a child’s eyes Many of the day’s activities were designed for families with children or youngsters. In an area set up in the canteen, children were able to dive into the clay-working process and conduct scientific experiments, giving them a fun, hands-on way of exploring the challenges of sustainability, robotics, and artificial intelligence. Older ones had the opportunity to add to the resulting knowledge by completing the tour and seeing the ‘real’ machines in action. The SACMI family: out in force Superb teamwork, with workers’ active involvement, contributed hugely to the event’s success. It was also a good opportunity for all SACMI people, their families, and the local citizens to get together, celebrate and exchange views. Over 100 volunteers ensured the smooth running of access points and guided tours, mingling with visitors and – once their work was done – later refreshing themselves at the numerous food and wine stands. “It was a wonderful day of sharing and celebration on an occasion that’s extremely important to us. Teamwork saw us achieve the aim of the event: to bring in as many people as possible and show them our world and thus strengthen the bond between company and community”, underlined Paolo Mongardi, President of SACMI. «SACMI, from workshop to worldwide success To bring these 105th celebrations to a close, Monday 2 December – the exact anniversary of the company’s founding – saw the presentation of the book “SACMI: from workshop to worldwide success Origins of an extraordinary cooperative experience”. In a packed Auditorium 1919, people gathered to listen to the author of the book, Valter Galavotti, and two former and current SACMI employees, Leo Monduzzi and Cecilia Palmieri. The event was also attended by local institutions: acting president of the Emilia-Romagna Region, Irene Priolo, was there, together with the mayor of Imola, Marco Panieri, highlighting how the ‘SACMI model’ is a crucial part of Imola, the Region and, indeed, Italy’s industrial, economic and social heritage. The meeting ended with words from the President of Legacoop Nazionale, Simone Gamberini. “We’re especially proud”, pointed out SACMI’s President Paolo Mongardi in his opening remarks, “to have turned the spotlight on, for this anniversary, a new interpretation of SACMI’s origins and how it went from being a small workshop to a huge industrial concern while remaining rooted in the communities from which it sprang. We’re not just talking about the history of a company, our history, but about the always-relevant values and principles of being a cooperative, of looking to the future and the coming generations.”
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5 years journey of CERAMIC BANGLADESH MAGAZINE
walking through the memory lane, the 5-year journey of Ceramic Bangladesh Magazine seems like a dream of yesterday. During the planning of the Ceramic Expo Bangladesh 2019, the magazine began its journey by providing complimentary copies to exhibitors to educate them about the ceramic industry in Bangladesh. Along with the success of the Ceramic Expo Bangladesh 2019, everyone particularly praised the magazine, which encouraged us to come up with the next issue in 2021. Chief Editor Mr. Irfan Uddin was recollecting the memories in this way while sharing his experience of working closely with the magazine. Initially, the magazine focused on Bangladesh’s ceramic industry, its overall future, prospects, growth, etc., to bring limelight to the overall sector. Due to Covid-19, it was impossible to continue the publication in 2020. But after that, Ceramic Bangladesh was publishing full-fledged from 2021 at the end of the year. Since then, the magazine has completed its 13th issue and plans to publish bimonthly from 2025. The journey was a rollercoaster for all the team members, along with the editor, sub-editor, coordinator, designer, photographer, and writers. Everyone took a leap of faith to explore a new publication arena with their enthusiasm, interest, and love for taking challenges. The editor of the magazine, Salahuddin A. Talukder, expressed his immense affection for Ceramic Bangladesh Magazine. It was a challenge to sustain the magazine and keep up the top-notch quality so that it would be liked and praised by all. The projects we have focused on were unique and interesting, and each one has a new way of unfolding the journey of development and growth in Bangladesh. While interviewing the subeditor, Rehnuma Tasnim Sheefa, it was really interesting to know how they came up with the names of the segments and selected projects to feature initially. Reminiscing on the initial projects and works, she mentioned that at the beginning, most of the write-ups were done by the editor, Salahuddin Ahmaad Talukder, and himself, along with 2 to 3 writers. Photographer Junaid Hasan Pranto and designer Ali Haider created magic with their photography and layout to make those features alive by narrating a story visually for the readers. The 1st issue of the magazine was prepared by Ant Network, which encouraged BCMEA board members to approve the work of the publication and enable BCMEA to work on the magazine internally. With the publication of the 2nd issue, considering the contribution of the architects and their close involvement with the ceramic industry in their projects, the magazine started to focus on architects and their significant works, various mega projects, interior and exterior insights, industry-related content, and some exclusive and unique projects related to the use of tableware, tiles, ceramic bricks, sanitaryware, etc. Through the magazine, readers learned that Bangladesh is the only country where the maximum number of national establishments are made with red ceramic bricks, a matter of pride for the ceramic industry. There were also some interesting coverages of the projects from a wide range of collections under different segments. For example, for the segment Architectural Regime, Alenbari Mosque of PWD was featured, which is a geometric-shaped prayer space with a dramatic skylight that represents the combination of art and architecture in every part of the project. The feature on Monno Ceramic for Ceramic Central reminds the reader about the legacy of ceramic tableware in Bangladesh, which has created a corner in every showcase of each household and the heart of Bengali mothers. Under Suasive senses, unique ideas like Ajo Idea Space use their own crockery sets to serve their food sustainably and reduce the wastage of food. Some of the exclusive features of the brilliant minds of the country were presented through the magazine. Architect Rafiq Azam recalled his childhood memories and newfound inspiration for sustainable architecture practices from his surroundings, exploring new arenas of work that are inspirations to many young architects. The creator of the new city skyline Architect Mustapha Khalid Palash unfolds the dream of making the city more sustainable and living worthy for the city dwellers. The Mason Master Architect Mohammad Foyez Ullah’s projects represent the combination of modern architecture by designing sleek concrete buildings and making them stand out to praise the beauty of the creation. Apart from them, Architect Mamnoon Murshed Chowdhury, Architect Mahmudul Anwar Riyaad, Architect Tanya Karim, Architect Nurur Rahman Khan, Architect Masudur Rahman Khan, and Architect Salauddin Ahmed’s contributions and journeys of their personal and professional lives are worthy to explore through the magazine. They have shared their life journey, learning, and their experiences under the architectural regime segment. It was a documentation of the living legends and the inspiration behind their creations through the magazine for future generations, added by Sheefa. In the segment Interior Insight, we featured different well-designed restaurants and offices. Some features were also on entrepreneurial stories to encourage new people to start their journeys in similar industries. Exclusive mega projects like MetroRail, Padma Bridge, Kamlapur Railway Station, etc. were also highlighted in the cover stories of our magazine. In the Heritage segment, sites like Lalbagh Kella, Tara Mosque, Shat Gambuj Mosque, Terracotta Temple, etc. were also covered. In parallel, we also focused on scenic sights, covering touristy destinations. From financial institutes to real estate, we have tried our best to cover the wide band. Ceramic Bangladesh Magazine has grown with some excellent team members. Without their dedication and utmost effort, it would not be possible to come such a long way. The former core team members of BCMEA, Mahfuza Tasnim Noshin, Kazi Sumaiya Ahmed, and Anamika Rahman, shared their journey with the magazine as they have closely worked with the CBM since its initiation. They shared their utmost affection and recalled their journey while working on such an interesting project from scratch. To sum up the journey of Ceramic Bangladesh Magazine, the dedication, effort, and consistency of all the team members is remarkable. Without their continuous
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‘Solastalgia’: Fragments of a fading horizon
From October 19 to November 16, Platforms will host Auntora Mehrukh Azad’s solo exhibition “Solastalgia: Fragments of a Fading Horizon,” at its gallery in Pragati Sarani, Baridhara, Dhaka from 11am to 8pm daily. Her work is inspired by the universal and personal feelings of environmental change, with a particular focus on Bangladesh’s rivers and landscapes. Azad’s art explores the impact of environmental loss, displacement and transformation in rural and urban landscapes from the Sundarbans to Dhaka. All the art enthusiasts, collectors, and connoisseurs are invited to explore Azad’s evocative works.
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14th ISSUE
Kamalapur Railway Station, officially known as Dhaka Central Railway Station, stands as a bustling gateway to the vibrant capital city of Dhaka. Nestled in the heart of the city, this vital transportation hub connects travellers to all major cities in Bangladesh. As the largest and busiest railway station in the country, Kamalapur serves as a crucial link, facilitating journeys both near and far.
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Mentorship Seminar for Effective Career Path
Department of Real Estate and the Career Development Center (CDC), Daffodil International University jointly organized a Job Recruitment and Mentorship Program on 21st September, 2024 in collaboration with Pa-Wang Ceramic Industry Ltd.
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A Brilliant Conclusion with Countless Accolades Ceramic China 2024 Unfolds a New Chapter of Cooperation
On June 18–21, 2024, CERAMICS CHINA 2024, with “Great Minds to Lead, Digital Intelligence for Brilliancy” as the theme, concluded successfully in extensive praise. This edition is jointly organized by seven entities, including China National Light Industry Council (CNLIC), China Building Materials Federation (CBMF), China Building Ceramic and Sanitaryware Association (CBCSA), China Ceramic Industry Association (CCIA), CCPIT Building Materials Sub-Council (CCPITBM), Unifair Exhibition Service Co., Ltd. and Beijing Jianzhan Technology Development Co., Ltd., thereby, the long-standing “Organizing Ceramics China by turns” has concluded, showcasing the strong influence and multifaceted benefits of the partnership between five national associations and two exhibition companies through united cooperation and resource integration. This act of union has drawn widespread industry attention and positive responses. Mr. Chen Guoqing, Executive Vice President of CBMF and President of CCPITBM, highly praised the collaborative efforts of the seven organizers in presenting this unprecedented exhibition and expressed sincere gratitude to all the exhibitors, visitors, buyers, and the media partners for their continued support for CERAMICS CHINA over the years. Mr. Du Tonghe, Vice President of CNLIC and President of CCIA, expressed full affirmation of the seven organizers for jointly holding the exhibition: “This is a powerful measure in line with the forward trend of the new era, promoting high-quality development in the ceramic industry, and giving full play to the role of the ‘national team’ of the ceramic industry. It has gained extensive industry support.” Ms. Han Xiuping, Managing Director of Unifair Exhibition Company urged industry peers to strengthen cooperation, unite efforts, and jointly propel the industry towards premium, smart, green, and integrated transformation for high-quality development.
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Through the eyes of artist Wakilur Rahman
A video shows Mr. Rahman in the hall with his exhibits, elaborating on his interpretations as remnants of his journey. “The exhibits are a reflection of my journey with art at different times,” he said, as the camera moved to show the hanging base of a traditional riverine boat. Wakilur Rahman has been working with social issues through his artwork since the 80s. He has recently hosted an exhibition by the name “Monon Khonon” at Bengal Shilpalay. It visualized through installments, the cultural aspects that portray the life in the delta regions. The acclaimed artist often ponders over the contour of our thoughts, imaginations, and emotions, and digs into this diversity in people from different regions. Going through the artwork in the exhibition one noticed a dark theme over three earthly elements: A fragment of the exhibition focused on wet mud and imprints on wet mud. The artist believes that mud is instilled in our physical molding and is a crucial part of life. Upon entrance one is greeted by the bottom half of a boat which depicts the enthusiasm of the artist as “Tori” is widely used in Bengali culture and its music. The final material in use is language which is represented by 3 dimensional prints and represents communication.
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Sustainability Summit 2024 and SDG Brand Champion Award Night Presented by AkijBashir Group
On 10th September, 2024, AkijBashir Group took center stage as the proud presenter of the Sustainability Summit 2024, an event that brought together thought leaders, industry experts and key stakeholders to discuss and promote sustainable development practices across various sectors in Bangladesh. The summit focused on the challenges and opportunities in achieving the United Nations Sustainable Development Goals (SDGs), emphasizing the role of businesses in driving sustainable growth. The day-long event featured a series of insightful panel discussions, keynote speeches, and Case Study, where experts shared best practices and innovative approaches to sustainability. Topics ranged from sustainable supply chains and green manufacturing to the role of technology in driving environmental stewardship. The summit provided a platform for meaningful dialogue, fostering collaborations that are essential for the country’s progress towards achieving its sustainability targets. As the day transitioned into the evening, the atmosphere was charged with anticipation for the SDG Brand Champion Award Night, also presented by AkijBashir Group. This prestigious awards ceremony recognized and celebrated the exceptional efforts of many Organizations and individuals who have made significant contributions to advancing the SDGs in Bangladesh. The SDG Brand Champion Awards honored companies who have demonstrated leadership in sustainability, from reducing carbon footprints to enhancing social equity and economic inclusion. The winners were selected based on their innovative strategies, measurable impact, and commitment to creating a better future for all. Our honorable Managing Director, Sk Bashir Uddin, spoke at the Sustainability Summit 2024, proudly hosted by AkijBashir Group. He addressed how our Group is emphasizing its dedication to sustainability and its vision for a prosperous and sustainable Bangladesh. He highlighted how he integrated Zero Net to his factories and the importance of collaboration between the private sector, and civil society in achieving the SDGs, and reiterated AkijBashir Group’s commitment to leading by example in the journey towards sustainability. The event was a resounding success, leaving attendees inspired and motivated to continue their efforts in promoting sustainability in their respective fields. AkijBashir Group’s role as the presenter of both the Sustainability Summit 2024 and the SDG Brand Champion Award Night underscored the Group’s leadership and commitment to sustainable development, setting a benchmark for others to follow in the years to come.
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Akij Ceramics Introduces 100×100 cm Large Tiles
In response to the growing global demand for large-format tiles, Akij Ceramics proudly introduces its new Kathena premium series, featuring 100×100 cm (1000×1000 mm) tiles. These grand tiles, designed to deliver a seamless and luxurious aesthetic in both residential and commercial spaces. Previously, consumers had to rely on costly imports with limited design choices. Now, Akij Ceramics brings a solution that not only meets but exceeds international standards in design, durability, and performance. Produced locally, these tiles provide an affordable and superior option, enhancing the landscape of the Bangladeshi tile industry. Akij Ceramics’ 100×100 cm tiles, known for their high gloss finish, add an unparalleled sense of space and elegance to interiors. With fewer grout lines, these tiles deliver a clean, expansive look that perfectly complements modern design trends. The diverse range of designs ensures that there’s something for every style preference, making them ideal for both residential and commercial application By launching these large-format tiles, Akij Ceramics continues to set new industry benchmarks, reinforcing its reputation for innovation, quality, and craftsmanship. Their “Promise of Perfection” shines through in every product, solidifying their status as one of Bangladesh’s top ceramic brands. Whether you’re transforming your home or commercial space, Akij Ceramics’ new 100×100 cm tiles offer the ultimate combination of beauty, performance, and luxury.
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AkijBashir Group and Edison Real Estate Forge Strategic Partnership to Enhance Customer Experience
AkijBashir Group and Edison Real Estate Limited, have formed a strategic partnership to
enhance customer value and offer exclusive benefits. This collaboration will provide exclusive
perks to members of the Edison Royal Club, a loyalty program designed for Edison Real
Estate's esteemed clients.
A stunning display of architectural grandeur, welcoming students
We are all familiar with the Dhaka University and its grandeur. Even now, when major infrastructures shroud the beautiful campus, its thousands of students still enjoy a little retreat among greeneries in, for example, Muktamancha or Suhrawardi Udyan. The same can also be said for all public universities. It’s on one such campus where BUET alum Khandaker Ashifuzzaman Rajon, Principal Architect of Cubeinside Design Limited, studied architecture. Of course, Rajon’s idea of a campus vastly differs from that of private university students. Thus, when tasked with designing a campus for Southeast University (SEU) well within the hustle-bustle of Dhaka, Rajon had to tumble down all his cards and think of fresh ways to give the students of Southeast University some taste of his own campus-going experience. The project being the permanent campus came with the additional worry of how to design the structure that would inspire students to enrol just looking at the place years, even decades, after its novelty factor has worn off. But before we go further into Rajon’s and the Southeast University permanent campus story, allow us to tell you what it is about all private universities competing to move to their permanent campuses. Competition here is particularly good, as all private universities want a permanent campus that is the most student-friendly while being attractive. UGC, the University Grants Commission, recently stipulated that all private universities, without fail and exception, move to a permanent campus that facilitates students with open space, interactive classrooms, and all the amenities that university students abroad enjoy from a campus. So, that triggered the mass relocation of private universities to actual campuses in place of stuffy buildings. Rajon opened his story with the mandatory 50% open space policy in the rulebook for building a new permanent campus. “The idea of a cubic volume in the centre of the campus came from this rule. I wanted the rest of the structure to look over the open space as the centerpiece of the campus. As a by-product, a central courtyard would help dissipate light and aerate its surroundings, like the classrooms, for example. However, the Board wasn’t initially unanimous about the central open space idea, but it was up on completion that they saw my vision behind this design choice, and this later became everyone’s favorite part of the entire campus,” began the architect. But beyond the Board’s stamp of approval, the campus just had to be completed and made fully functional within a very limited window of time, set by the UGC. If you happen to be a current student of SEU or have even visited the place, you may have taken a moment’s pause and thought of how it was even possible to erect an edifice as such in such a constricted amount of time. This is where the seasoned, but young, architect’s ingenuity just begins. If my memory serves well, I remember seeing in the popular cartoon show “Popeye: The Sailor Man” Popeye stacking floors upon floors of a skyscraper with steel I-beams, all in one shift, of course with the help of his special formula spinach, but steel I-beams were the actual hero that allowed for construction at such mind-boggling speeds. I am not inferring that Rajon got his hands on Popeye’s spinach, but being the well-bred architect that he is, he knew that I-beams would be an ideal instrument in his race against time. He explained how: “All the brick and concrete facades of the entire complex give it the impression of an RCC (reinforced cement concrete) structure, but its basic skeleton is made of I-beams. This bought me time! I-beams, like Lego, just have to be joined together using nuts and bolts without trading modern looks for time or structural integrity, but we did trade off some extra money to be able to complete construction in time.” The mission he had in mind to let light dance around the entire complex with the help of a central open space was a massive success. As the structure was shaping up rather quickly, it was instantly visible that the same campus took on different faces because of the changing sunlight that entered at different angles at different hours of the day. As a creator, the play of light and shadow had Rajon all emotional when he laid eyes upon the outcome. “The place would change its look at the change of each season too,” he said. “A few of my acquaintances who study at SEU find the campus quite photogenic. As climates change, they post photos and reels of different parts of the campus on their social media, and from there, I get to observe, from an onlooker’s perspective, how the most important beneficiaries of the campus—who are the students—are lovingly accepting it and are also low-key boasting it on their socials.” All this is to say that a structure made exclusively out of complex mathematics and engineering can also evoke emotions when made with the human angle in the mix. Ever since the permanent campus opened its doors to students in early 2023, the entire place teems with students in any direction imaginable. Not only is that the proper utilisation of space, but it also points towards the inevitable fact that students love their new campus. Everyone is doing what a student does: going in and out of class, singing, laughing, teasing, playing with classmates between classes, and most importantly, enjoying their newfound freedom in such a capacious facility that can house over 12,000 students at once! The former campus building is in the backyard of the new campus. It will be demolished soon and replaced by a new building to house the School of Engineering. It is to be designed by Cubeinside Design Limited as well. “But looking at the design of the new building and the one we just completed, no one will be able to say that the same architecture firm was behind the drawing board of the second one; it’s that different from the
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Paragon Ceramic, Pioneering Innovation and Sustainability in a Challenging Global Market
The global ceramic industry, including Bangladesh, is navigating a period of uncertainty due to economic slowdowns, fuel shortages, and inflation. However, Paragon Ceramic Industries Limited (PCIL) has managed to stand out as a leader in this competitive sector, driven by an unwavering commitment to quality and resilience. Below is a closer look at the company’s journey, challenges, and future plans as discussed by its Managing Director, Farian Yusuf. A Journey of Resilience and Early Success Founded in June 2008, Paragon Ceramic began commercial production in December 2010. Remarkably, within just two months, the company achieved its first export, a significant milestone that set the stage for its future success. Despite the current oversupply in the domestic market, Paragon continues to thrive internationally, with exports showing considerable growth. “Our entry into exports soon after production was a major accomplishment,” said Yusuf. “Although the local market is challenging, we are seeing tremendous growth internationally.” Paragon Ceramic: A Leader in High-Definition Porcelain Tableware Manufacturing Located in Mirzapur, Gazipur, approximately 50 kilometers from Dhaka, Paragon Ceramic benefits from a strategic location with access to all necessary infrastructural facilities. With a total investment of over US$ 16 million, PCIL has established itself as a key player in the porcelain tableware industry in Bangladesh. Cutting-Edge Technology and Skilled Workforce PCIL specializes in manufacturing and exporting high-definition porcelain tableware, utilizing state-of-the-art machinery sourced from renowned global suppliers like SKK and TAKASAGO from Japan, TCK from Taiwan, Modena and COTO from China. The factory is supported by a workforce of approximately 1,600 highly skilled and motivated employees, ensuring the highest quality in every product. “In a market where competition from China is fierce due to low pricing, Paragon Ceramic has adopted a strategy of prioritizing product quality over competing on price. China, with its advanced technology and domestic resource pool, offers products at far lower costs than Bangladesh.” Durability and Performance Paragon Ceramic decorated tableware combines vibrant colors and unique shapes that endure even the most demanding dining kitchens. Our proprietary clay recipe, infused with alumina, ensures strength, durability and a pure white finish. Yusuf said “Tested for quality, our products resist fading, chipping, and scratching, even after 500 dishwasher cycles. With advanced shape engineering and glazing techniques, we guarantee functionality, hygiene, and impact resistance”. Innovation and Global Reach Through cutting-edge technology and constant design innovation, Paragon Ceramic stays ahead of trends, offering high-performance tableware. With a robust global distribution network, we ensure timely deliveries worldwide. State-of-the-Art Manufacturing and Quality Assurance PCIL operates with cutting-edge technology, from its porcelain plant to its decal and packaging units. With modern equipment from Japan, Taiwan and China, and a highly skilled workforce, PCIL produces high-definition porcelain tableware for global markets like IKEA and H&M. The company excels in custom designs, meeting clients’ diverse requirements with unmatched flexibility and service. Precision and Excellence in Every Step PCIL’s advanced Mould unit and dedicated Quality Assurance (QA) team ensure every product meets strict international standards. With over 25,000 Mould produced monthly, the team delivers high-quality ceramics while adhering to ISO 9001:2015 standards for superior customer satisfaction. Overcoming the Industry’s Biggest Challenges Paragon has faced its fair share of challenges, from fuel shortages to a shortage of skilled workers. The company’s resilience in overcoming these hurdles speaks volumes. According to Yusuf, the biggest obstacle remains the gas crisis, which has severely impacted production costs and supply. “Fuel costs have skyrocketed by over 250 per cent, yet gas pressure remains very poor, affecting overall production,” he explained. “We’ve had to turn to alternative energy sources but that increases our costs, making us less competitive and facing global challenges to survive” Despite these difficulties, Paragon has continued to expand and evolve, focusing on maintaining its stronghold in international markets while also striving to meet local demand for Porcelain tableware. Quality over Price: A Global Strategy In a market where competition from China is fierce due to low pricing, Paragon Ceramic has adopted a strategy of prioritizing product quality over competing on price. China, with its advanced technology and domestic resource pool, offers products at far lower costs than Bangladesh. However, Paragon’s superior quality remains a competitive edge. “While China has access to its own resources, we rely heavily on imports, which raises our costs,” said Yusuf. “But in terms of quality, we’re second to none and that’s what has helped us to secure buyers internationally.” Reducing Import Duties: A Key to Growth Yusuf believes that reducing import duties on raw materials could significantly boost Bangladesh’s Ceramic industry and its global competitiveness. Since the sector relies entirely on imported raw materials, lowering these costs could fast-track growth and innovation. “If the government offers duty benefits, the sector will see accelerated development. We have the potential, but policy support is crucial to our future,” said Yusuf. Attracting Foreign Direct Investment (FDI) for Expansion Paragon Ceramic is also focused on attracting foreign direct investment (FDI), which Yusuf sees as essential for broadening the scope of the industry. More FDI could increase the number of companies in the sector, giving buyers more options and boosting confidence in Bangladeshi ceramics. “In the same way that Bangladesh’s garment industry grew with increased foreign investment, the ceramic sector can also be benefited,” Yusuf explained. “The more companies we have, the more options buyers have, leading to better overall industry growth.” The Gas Crisis: A Major Production Bottleneck The ongoing gas crisis has led to a surge in fuel prices and decreased availability, creating a substantial challenge for Paragon and other industries. Low gas pressure in industrial areas like Gazipur has severely impacted production as well as quality that reflects on financial statement. “The entire industrial area is affected by this, and it’s not just us—garment and other industries are also facing disruptions,” Yusuf said. “We need long-term solutions for energy security if we are to continue growing.” Technological Advancements: A Path Forward Yusuf emphasizes the need for technological innovation to enhance production efficiency and maintain competitiveness. While inflation has dampened local
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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. Written By Kaniz F Supriya & Quazi Anika Afrin
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Of trinkets, chandeliers and everything be dazzling
Your home decor is an extension of your personality and style. It’s a reflection of your tastes, preferences, and values. Believing in the notion, Satori started its journey in 2012, to provide city dwellers with start-of-the-art home decor items. Conceptualized and founded by Shaon Tanvir, Satori is a pioneering brand in the world of high-end home decor items. All of its products are handpicked and imported from Dubai, Thailand & China based on customers’ demand. Currently, they have three branches in the city, two in Banani and the other one in Gulshan. Stepping into any Satori showroom, anyone is immediately enveloped in an aura of opulence. Majestic chandeliers, installed in intervals, illuminate the space, guiding your path, while framed mirrors capture and reflect your presence, enhancing a sense of warm welcome. Everywhere you look, there are countless trinkets and treasures. Feels like you have entered into the celebration of art, aesthetics, and all things visually captivating. “As pioneers in the industry, we specialise in importing and curating modern luxury home décor items that stand as a testament to our commitment to quality and style. More than a selling platform Besides selling retail home decor items, Satori provides complete home décor solutions according to individual clients’ needs or architectural design They also offer complete lighting solutions for residences, developers,’ corporates, resorts, boutique hotels, and more. “We specialise in providing customised lighting and total lighting solutions and often collaborate with architects and interior designers,” added Shaon Tanvir. The brand offers a wide array of unique design products, starting from miniature sculptures to grand chandeliers. One of its focused categories is lighting like table & floor lamps, wall lights, chandeliers, ceiling lights, track, spot and LED lights, ambiance lights, etc. Fast-moving gifts and small décor items like candle stands, showpieces, flowers, vases, cushion covers, runners, mirrors, metal wall art, and paintings are also some of the most sought-after items by the brand. Additionally, you will also find carefully selected signature small furniture like consoles, coffee and side tables, and other feature pieces at Satori. Adapting to Dynamic Trends As urbanisation and contemporary living redefine our lifestyles, Satori stands at the forefront, attuned to the evolving demands of its clientele. According to Shaon Tanvir, Satori has been playing a pivotal role in reshaping customer perceptions regarding home decor, transforming once-deemed luxuries into modern-day essentials. “What was once considered a luxury is now deemed a necessity,” she remarked, highlighting the brand’s role in reflecting and accommodating shifting consumer needs. Tanvir also emphasises the profound impact of travel and social media on consumer preferences. With increased exposure to diverse lifestyles and design aesthetics, customers now seek to replicate the lavish home decor they encounter online, demanding accessibility to such lifestyle elements within their own homes. Satori takes pride in popularising numerous unconventional decor items, introducing novel concepts to the local market. What distinguishes Satori and maintains its stronghold in the competitive home decor segment is its product offerings in the dynamic market landscape. The brand’s success lies in its ability to curate a selection of unique and trendy items, renowned for their aesthetic appeal. Satori not only introduces fresh decor concepts to the local market but also sources distinctive designs of established items, offering exceptional value to its customers. If you are looking for interesting items to bring added dynamics to your space, or simply looking for an ideal gift for someone’s housewarming party, Satori certainly deserves your attention.
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TANGUAR BLUES
If you have ever had the blessing to travel extensively in Bangladesh, there is something in particular about her geography that you must have noticed: the plethora of her beautiful waters. Being the largest delta on earth, perhaps it is unsurprising that Bangladesh has her own unmatched collection of breathtaking, fericious, and soothing wetlands, rivers, and other different types of water bodies, and of course the mighty Bay of Bengal, where every drop meets. A notable part of Bangladesh’s water bodies are wetland ecosystems in the north-eastern part of Bangladesh, which are physically a bowl or saucer-shaped shallow depression, locally called a “haor”, which is basically known as a backswamp. During monsoons, haors receive surface runoff water from rivers and canals to become vast stretches of enchanting, turbulent waters. Over the course of the past few years, Tanguar Haor, located in Dharmapasha in Tahirpur upazila, Sunamganj district of greater Sylhet region, and the foothills of India’s Meghalaya, have cemented their place as a sensation amongst the minds of all types of tourists and travelers. Especially with the rise of travel vlogs and other types of travel-related videos in this time of social media and influencer culture, the popularity of spaces like Tanguar Haor skyrocketed. Even in off seasons, tourists and travelers of all types flock to Tanguar Haor to immerse themselves in it or to simply witness its allure. But what makes Tanguar Haor so addictive is the essence of its inexplicable aura of spirituality. Shutting your eyelids and just listening to the sounds of Tanguar Haor’s bluest of waters will engulf you and take you to a serene wonderland that is impossible to encapsulate with words. Spaces like Tanguar Haor always have their own stack of mythical tales and different kinds of histories. One such thing that goes hand in hand is music. The original stories of local music genres and the backdrops of many legendary creations are closely related to water. One such is a type of folk music called “Ghetu Gaan”, which originated from such types of wetland areas where parts of the year were dry and everyone was busy working in the fields, taking care of livestock etc. and had nothing much to do during the entire monsoon, is when the inhabitants, especially the boatmen and local poets and musicians, organically started crafting such music. Another very interesting fact about this art practice is that teenage boys were dressed up as girls to perform and dance in Ghetu Gaan. In fact, the plot of the last ever movie made by the legendary Bangladeshi novelist and filmmaker Humayun Ahmed, “Ghetuputro Komola,” revolves around the practice of Ghetu Gaan. The practice itself has a lot of very interesting and tragic histories. Although this particular practice is almost extinct now, other kinds of music are still an integral part of our lives. Tanguar Haor is also one of the largest natural water reservoirs in South Asia. This natural wonder is the second largest freshwater wetland in Bangladesh spread over an area of about 126 square kilometres, and is a reservoir of trees, fish, birds and natural biodiversity. More than 30 fountains from the world’s rainiest Meghalaya hills merge in this haor. The Tanguar Haor is called the mother of all haors and the mother of fisheries as well, with a catchment area of 12,665 hectares (31,275 acres) of land. Tanguar Haor is the largest wetland consisting of 51 haors in 18 mauzas of two upazilas (sub-districts) in Sunamganj. 30 square kilometers of water-logged main haor and the rest is residential and agricultural land. There are 88 villages in and on the banks of the Haor area. When the water dries up in the winter season, the banks (‘kanda’ in local language) of about 24 beels wake up, only the inner part of the kanda (banks) has the original beel, and the local farmers cultivate winter crops and boro paddy in the dry part. During this time the area was also used as a pasture. Migratory birds take shelter in the high banks (kanda) of Haor, submerged in water during monsoons. The haor is also known in Bangla as “Naikuri Kanda’s Chaikuri Beel” to the local people. IUCN is working to protect the biodiversity of this region. Tanguar Haor’s landscape is characterised by its seasonal flooding and drying cycles, creating a dynamic and ever-changing environment. During the monsoon season, the haor swells as it receives water from the surrounding hills and rivers, covering the land in a shimmering expanse of water. In contrast, the dry season reveals a mosaic of shallow lakes, marshes, and lush green fields, exposing the intricate network of channels and water bodies that define the region’s unique ecosystem. This cyclical transformation is a key feature of Tanguar Haor’s nature, influencing its diverse flora and fauna and contributing to its rich biodiversity. The haor is home to a rich variety of aquatic and terrestrial flora that thrives in the wetland ecosystem. Its waterlogged environment supports a profusion of aquatic plants, including water lilies, lotus, and various submerged grasses. These plants play a vital role in providing habitat, shelter, and food for the area’s diverse aquatic fauna. Along the highway’s edges, you’ll find an assortment of riparian vegetation, such as reeds and sedges. These plants help stabilise the shoreline, prevent erosion, and offer refuge to various small mammals and birds. Mats of floating vegetation, including duckweed and water hyacinth, are common sights on the lake’s surface. These mats provide a crucial food source for herbivorous aquatic animals and create hiding places for fish. During the dry season, the area’s submerged grasslands emerge, providing feeding grounds for waterfowl and grazing areas for cattle. These grasslands are also important for the farm’s agricultural activities. It is home to over 200 species of fish. The seasonal flooding provides an ideal breeding environment for many of these fish, sustaining local fishing communities. The wetland is also home to various reptiles and amphibians, including snakes, turtles, and frogs. Some of these species
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Cartoon e Bidroho’- A bloodshot rebellion portrayed in art!!
Cartoon e Bidroho’- A bloodshot rebellion portrayed in art!!
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A palace on the bank of Buriganga
An integral part of Dhaka’s image in terms of historical architecture that still remains and has been renovated and preserved is the Ahsan Manzil. And like many of common folks who grew up in Dhaka, they have always wondered, at least once in their lives, the reasons behind why this iconic landmark is painted pink. Perhaps unsurprisingly, Ahsan Manzil’s history is even more colourful. This iconic building was built on a property that has a rich history dating back to the Mughal era at the southern part of Dhaka. During the Mughal Empire, Sheikh Enayet Ullah, Zamindar of the Jalalpur Porgona (Faridpur-Barishal), who was the original owner of the land, built a palace called Rong Mahal (which loosely translates as ‘Colourful Palace’) in 1720 for his amusement, a typical practice amongst wealthy elites at the time. He also had a garden house and a cemetery on this site. After he passed away, his son Sheikh Moti Ullah sold the property to the French traders in Bengal at the time. The new owners soon established a trading house next to the palace. Later, after being defeated in the Palashy War by the British East India Company in 1757, they had to leave their possessions behind. After changing hands a number of times, the property was purchased by Khwaja Alimullah of Begambazar in 1830, who was a prominent merchant and an important figure of Dhaka’s Muslim community at the time. Alimullah renovated the property, turning the trading house into a residence. He also built a mosque and some other important structures in this area. After his death in 1854, his son Khwaja Abdul Ghani inherited the property and named it Ahsan Manzil after his son Khwaja Ahsanullah. He continued renovations; the old building was renamed Ondor Mohol (ladies quarters) and the new building was called Rangmahal (pleasure palace) and was later renamed Ahsan Manzil. Khwaja Abdul Ghani was one of the most influential Nawabs (Zamindar) of Dhaka. Known for his generosity and patronage of arts and culture, he expanded his estate by acquiring more lands around Ahsan Manzil and also played an important role in improving the infrastructure, education, healthcare, trade, and social welfare of Dhaka. In 1859, he built a new building on Ahsan Manzil’s property that resembled European architecture because of its domes and pillars. The Nawab named it Rangmahal and painted it with different colours every year according to his mood. On 7 April 1888, Ahsan Manzil suffered severe damage from a tornado that impacted most of its buildings, except for Rangmahal and it was temporarily abandoned. Khwaja Abdul Ghani then decided to rebuild Ahsan Manzil with more vigour and decorations than previous ones. He hired Martin & Co., a British construction and engineering f irm, who designed Ahsan Manzil with an Indo-Saracenic style, blended with Islamic and European elements. In 1872, the reconstruction work continued under Khwaja Abdul Ghani’s supervision, what was previously the French trading house was rebuilt as a two-storey building similar to the Rangmahal. A wooden bridge connected the first floors of the two buildings. After he died in 1896 at the age of 87 years, his son Khwaja Ahsanullah continued his father’s legacy by taking care of the palace. He added new features like electric lights, gas lamps, and water pumps as part of modernization. The palace was repaired again following the 1897 Assam earthquake. The Nawab family played crucial roles in the modernisation of the Dhaka city, particularly in the development of educational systems, healthcare, and urban infrastructure, including the f iltered water supply system that served the city population. They occupied important positions as Commissioner of Dhaka Municipality. Today, within the hyper-congested and cacophonous urban growth of Old Dhaka, it is difficult to imagine how this majestic edifice once dominated the riverfront skyline of Dhaka. The landmark is a unique fusion of architectural styles, reflecting the rich cultural influences that shaped Bengal it over the centuries. The main palace building showcases a harmonious blend of Mughal and European architectural styles. The Mughal influence is evident in the structure’s domes, arches, and intricate decorative motifs. The ornate design of the palace’s entrance and interior chambers reflects the opulence that was characteristic of the Mughal era. European influences, on the other hand, are seen in the high ceilings, broad staircases, and expansive verandas. The palace’s central ballroom, adorned with crystal chandeliers and European-style furniture and tableware, exudes an air of sophistication that was imported from Europe during the late 19th century. The building faces the Buriganga River and Buckland Dam. On the riverside is a stairway leading up to the 1st floor. A fountain previously sat at the foot of the stairs but was not rebuilt. Along the north and south sides of the building are verandas with open terraces. Ahsan Manzil is ostentatiously European in its architectural expression, even though the building’s recessed verandahs may recall the Mughal treatment of buildings in a tropical climate. Its triple-arched portal, Greco-Roman column capitals, pilasters, and arched windows—all suggest that it is mostly a European-style building, meshed with some decorative Indian motifs. The palace’s soaring dome appears to be more about impressing the viewer on the exterior, rather than within the interior. The dome is at the centre of the palace and is complex in its design. The room at its base is square with brickwork placed around the corners to make it circular. Squinches were added to the roof corners to give the room an octagonal shape and slant gradually to give the dome the appearance of a lotus bud. The dome’s peak is 27.13 metres (89.0 ft) tall. The palace is divided into the eastern side, the Rangmahal, and the western side, the Andarmahal. The Rangmahal features the dome, a drawing room, a card room, a library, a state room, and two guest rooms. The Andarmahal has a ballroom, a storeroom, an assembly room, a chest room, a dining hall, a music room, and a few residential rooms. Both the drawing room and
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An Ode to Resilience: Shaheed Minar’s Chronicle of Revival
In the Bengali calendar, the month of Falgun signifies new journey of life and a sense of rejuvenation. The month which marks beginning of the spring brings forth joy, vivid hues, and a feeling of renewal. During this time, Bangladesh comes to life with the mesmerizing songs of cuckoos and various f lowers that are in bloom. Urban streets and rural roads are painted with colours of fallen leaves and shades of flowers. However, on the eighth day of Falgun, February 21, 1952, the Dhaka city’s streets were transformed into haunting canvases as the vibrant hues of nature gave way to a chilling shade of dark red. In defiance of the curfew imposed, courageous students took to the streets, passionately demanding that Bangla and only Bangla be recognised as the nation’s state language. The police opened fire on the students. Salam, Barkat, Rafiq, Jabbar, and a few others tragically lost their lives in the incident. Many people were injured. The news of the shooting spread like wildfire in every corner of the city. Soon after, the office court, secretariat, and wireless centre employees decided to collectively refrain from attending work. A wave of frustration swept through the city, drawing people towards the Dhaka medical hostel premises. After a day of fervent protests and demonstrations, the leaders of the student community agreed as a group to honour the language martyrs by constructing a monument. The information quickly got to Badrul Alam, a 24-year-old artist who is well-known for his artistic talents. He knew they needed his creative touch in designing the monument. As soon as the design was approved, something extraordinary happened. The whole night, a dedicated team of people, including medical students, hostel staff, and volunteers, worked on building a Shahid Smriti Stambha. The funding for the monument came from Pearu Sardar, who was a well-known and respected Dhaka panchayet sardar. The symbolic structure, dedicated to honouring the language martyrs, was unveiled to the public on the morning of February 24, a testament to an exceptional display of unity and support. In poignant recognition of his pivotal role in the language movement, Dr. Badrul Alam received the Ekushey Padak in 2014; he was the designer of the First Shahid Minar (Martyrs’ Monument) in 1952. This narrative unfolds as a tale of community solidarity, with the tireless efforts of diverse individuals coming together to construct an 11-foot-tall monument that stands as a lasting tribute to the language martyrs. However, the Pakistani Army and the police demolished it on February 26, 1952. In 1956, the students once again constructed the Shaheed Minar. It was inaugurated by Maulana Bhasani. But it was also disassembled afterward. Novera and Hamid’s grand design In the autumn of 1956, a pivotal meeting unfolded between Zainul Abedin, a luminary in the artistic realm, and Mr. Jabbar, the Chief Engineer of C&B, convened with the esteemed artist Hamidur Rahman and sculptor Novera Ahmed. The duo’s grand design took shape — a sprawling Shaheed Minar complex teeming with symbolism and significance. At its heart stood a semi-circular column, a poignant tribute to the eternal bond between mother and child, forever united in sacrifice. Adorning this column were symbols of watchful eyes, crafted from yellow and dark blue glass, poised to catch the sunlight and cast an ethereal glow upon the square below. The vision extended beyond mere architecture; it wove together threads of history and emotion, with every detail meticulously planned. A railing, adorned with Bangla alphabets, traced the perimetre of the seminar, while painted footprints, some stained with blood, others dark as night, marked the path of opposing forces, forever etched into the stone as a testament to the struggle for freedom. The Selection Committee, presided over by the venerable Greek architect Doxiadis, along with luminaries like Zainul Abedin and Mr. Jabbar, lent their discerning eyes to the fray. As Novera and Hamid poured their hearts into the design, they envisioned a space where memory and meaning intertwined — a sanctuary for reflection and remembrance. The government appointed Jean Delora as an architect at that time, who was in charge of keeping an eye on this work. Yet fate had other plans, and the grandeur of their vision remained but a dream, halted by the tumult of political upheaval and Ayub Khan’s martial law. Barkat’s mother inaugurated in 1963 In 1962, a committee under the direction of the vice-chancellor of Dhaka University suggested altering the original plan and speeding up the construction of the minaret. At that time, they did not even consider informing the designers about the alterations. Shaheed Barkat’s mother inaugurated it on February 21, 1963. In 1971, during the Operation Searchlight, Pakistani invaders descended upon the Shaheed Minar. They ravaged the monument. After independence, the government of Bangladesh took charge of the restoration of the Shaheed Minar. A fresh competition was announced, summoning the nation’s most esteemed artists and architects to present their visions for the revered monument. In a scene of anticipation and hope, the Central Hall of the Government House became a canvas for creativity as presentations adorned its walls. The committee, the media, and the general public all shared a mutual admiration for the design that Novera Ahmed and Hamidur Rahman’s team submitted. After that, its construction was f inished, though it failed to follow the design properly. In the mid-1980s, the Shaheed Minar underwent significant renovation again. The new design for the Shaheed Minar featured four small and one large column symbolising the mother and her fallen children on a 1,500-square-foot basis with a red sun backdrop. However, it was hastily executed, with the columns ending up shorter than planned and the main column’s head being bent more than intended. The Shaheed Minar took its present form in 1983, with marble stones used for repairs. The current Shaheed Minar stands at 14 meters (48 feet) tall. Unparallel significance of UNESCO recognition Since 1952, Bangladesh has embraced February 21st as National Martyr’s Day. On November 17, 1999, UNESCO, recognising its unparalleled significance,
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The Aesthetic Affair of Ekushey Book Fair
Followed by the fragrance of the spring, February in Bangladesh is a month of turning grief into power. Hence, this month is a glowing time for the citizens, with revelries surrounded by various occasions, and Amor Ekushey (Immortal 21) Boimela (Book Fair) is one of them. Started with only 32 books on a mat under a tree in front of Bangla Academy back in 1972, the legacy of Boimela continued till date. This year (2024), too, “Amor Ekushey Book Fair” at Bangla Academy premises opened its doors for literacy and knowledge enthusiasts to commemorate the glorious history of the Bangla language movement. While it’s the love for book that might grab readers to the fair, it is the unique eye-catching design that will pull people towards the book stalls and take a look at the books. This year, Anyaprokash showcased a unique rickshaw theme stall design, featuring a square pavilion with two vault-like structures inspired by rickshaw hoods. Designed by architect SM Rahman, the pavilion features murals and Humayun Ahmed’s portrait, using steel, bamboo, and plywood for its structure. The owner of Anya Prokash Mazharul Islam previously decorated pavilion along with Humayun Ahmed celebrating Ahsan Manzil, Lalbagh Fort, Curzon Hall, the Intellectual Memorial, and this year he chose UNESCO-recognised cultural heritage rickshaw of Bangladesh as the theme. The most interesting stall design has to be Akash Prokashoni’s. At first glance, people might misconstrue it as the traditional wooden houses of Bikrampur. The owner and designer, Alamgir Sikder Loton’s love for folk culture is well-echoed in the pavilion. There are three doors on three sides of the pavilion, along with windows. Books were displayed both inside and outside the house, offering an amusing experience for the customers. The younger generation can thus become more accustomed to Bangladesh culture with such thoughtful designs. The 39th Ekushey Book Fair has 635 stalls and pavilions this year, many of which are appealingly decorated. Things that look attractive tend to draw people in. They love connecting with them, are drawn to them, and want to learn more about them. Even though books are the heart of the book fair, a brilliant mind behind the design of those book stall plays an equally significant role. Every year, the top organisation receives the Artist Qayyum Chowdhury Memorial Award for their aesthetic pavilion design. Last year, Puthiniloy bagged the very award. The book fair’s main attraction, the kid’s section, remained colourful and exciting like always. Mayurpankhi’s stall at the book fair, designed by architect and designer Reesham Shahab Tirtho, stands out with its vibrant theme and arched doors, providing a fun walk for children. Journeyman Book’s stall, designed by interior designer Nazneen Haque Mimi, is another example of simplicity and efficiency. They have arranged a free Wi-Fi zone for the visitors and also used a modern book shelf outside the stall for an artistic appeal and a comfortable visit for book lovers. Sabyasachi Hazra’s signature simple and classy design is reflected on both the pavilions, Katha Prokash and Kobi Prokashoni. The choice of colours and fonts for Katha Prokash is minimal yet catchy. The surface is covered with layers of laterite soil, which gives it an even more fun context. Whereas the white folk motifs on the complete black surface of Kobi Prokashoni attract visitors effortlessly. Bangla Prakash remained unparalleled with its wooden pavilion, which looked more like a wooden box filled with books. The modest design rather appealed as classy, and the books have been kept skilfully on book shelves, which gives off a typical bookshop vibe. The pavilion looks equally great in the evening when the pendant lights it up. This year the prize was awarded for aesthetic and artistic stalls and pavilion and publishing maximum number of books in quality. In the pavilion category, “Anyaprakash” and “Nimphia Publication” and “Bengal Books” in the stall category received the Artist Qayyum Chowdhury Smriti Award as the best organisation in aesthetic decoration among the participating publishing houses. Kathaprokash received the Chittaranjan Saha Smriti Award for publishing the highest number of quality books. In the best book category in artistic and quality judging, Prothoma Prakashan got the prize for “Bangladesh in 21st Century: Transformation of Education” written by Manzoor Ahmed, and Oitijjhya for “Jatratihas: Bangler Jatra Shilper Adi Anta” written by Moeen Ahmed and Journeyman Books got the Munir Chowdhury Smriti Award for publishing “Kilo Flight” written by Alamgir Sattar. And Roknuzzaman Khan Dadabhai Smriti Award-2024 was given to Mayurpankhi for publishing the most books for children in terms of quality. Cultural Secretary Mr. Khalil Ahmed said that efforts are being made to bring the book fair into a permanent structure. Almost every stall and pavilion of this year’s book fair was well-decorated, every stall was well-organised and many stalls had a touch of modernity. Books worth Tk 50 crore were sold in the book fair and as many as 3,751 new books had been published. Written by Fariha Hossain
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Ceramics Bangladesh magazine has quality and depth of information
Since subscribing to Ceramic Bangladesh Magazine, I’ve been incredibly impressed by the quality and depth of information it provides. Ceramic Bangladesh Magazine is an essential resource for anyone involved in the Bangladeshi ceramic industry. It’s informative, and inspiring, and keeps me connected to the local ceramic community. Mr. XXX Japan
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Partners – The Ornaments of The Ceramic Expo 2022
The Ceramic Expo Bangladesh-2022 was an event that brought in some 25,000 visitors and the ceramic verse under one roof. Customers and brands were connected throughout all day during the three-day-long expo, and at the end, the organising authority, Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA), was overwhelmed by the tremendous response it received from the industry and the community. It was the third expo which was initiated with sponsorship support from renowned national and international brands. Locally, BCMEA was blessed with three co-sponsors for the Ceramic Expo Bangladesh 2022 – Mir Ceramic, BHL Group, and Stella Luxury Sanitaryware. Dressed in their brand colours, the sponsors decorated their pavilions with the best from their catalog, hoping to gather leads, showcase exclusives, and connect one business to another and directly with customers. BHL Ceramic Company Ltd. introduced PERLA Sanitary ware at the Ceramic Expo Bangladesh-2022 BHL Group, a conglomerate with its flagship concern BHL Ceramic Company Ltd., having four ceramic brands under its housing, was a co-sponsor of the Ceramic Expo 2022. During the event, they showcased products from four of their brands, and the front-runner was the newly introduced Sanitaryware brand, Perla Sanitaryware. The conglomerate manufactures for BHL Ceramic, KONGFU Ceramic, VINCI Ceramic, and PERLA Sanitaryware, all of which were featured at the event. With a production capacity of 33,000 sq.m/a day, expected to become 40,000-sq.m/a day manufacturer soon, the emerging brands from BHL Group have stepped into the world of ceramics, and they hope to see the subsidiaries flourish. Entering into BHL Ceramic Company Ltd. Pavilion at the expo, visitors saw the ambiance being set by a cadet grey overall backdrop. They saw their subtle blue logo above one entrance, elegantly carrying the name of the parent company. Under it reads “Driven with Integrity”. The basins from their newly introduced Perla Sanitaryware, along with commodes, and their tiles of varied sizes, were placed on walls and floor, as well as persuasively displayed to show how it would be when fitted. The front runner/star of the pavilion, the products from Perla Sanitaryware, shined throughout the event and had uniqueness in design and shape. The products from this segment are innovative, eco-friendly, extremely hygienic, and saves water. Furthermore, the company showcased its best sellers, and among its different products, there were 60×60mm High Glossy Tiles that had a shine like no other. The BHL Company Ltd. Pavilion received a special mention for one of the best pavilions decided by the jury during the awarding ceremony of the 2022 Ceramic Expo. The event went by smoothly as visitors poured in. The director of BHL Group, Mr. Sifat Arman, along with the Managing Director Mr. Shahedul Islam, graced the event with their presence. The pavilion brought in approximately 9,000-10,000 visitors in all three days providing representatives with countless leads that were later converted. Mir Ceramicof the reputable Mir Group showcased some of the bests A subsidiary of the esteemed Mir Group, Mir Ceramic is one of the largest tile manufacturers in the country, and has embarked on a mission to introduce the strongest and longest lasting tiles in the market since 2001. The company was a Co-sponsor for 2022 Expo, and decorated their pavilion with outstanding products from their catalogue. Mir Ceramic has a pool of talent with years of experience behind the manufacturing process. And with that and more, consumers have seen them turn to a ceramic leader over the past two decades. The company uses SACMI technology in its Mawna factory and sources raw materials from across the world, fine picking for every aspect of the products it manufactures. At the Ceramic Expo 2022, Mir Ceramic had a pavilion dressed in green and white. A “20 years” ceiling-high structure commemorating Mir Ceramics’ 20 years of business and achievements stood proudly at an entrance. The first few products to attract the attention were floral and checkered designs on the walls. Among the products displayed, were the SERENA, portraying dark shades of grey in matte, and DORA with its floral design, both 30×60cm in dimensions. The pavilion showcased two sizes, a rectangular shape with size 60×120cm and a square 80×80cm size, of the product REVENA which was the front runner at the pavilion alongside ALMINA. The products were beautifully showcased for the eyes of the visitors, which constituted of not only enthusiasts, but also designers, architects, and officials from real-estate companies. The Mir Ceramic pavilion won Silver for Best Pavilion of the Year and Bronze for the Most Interactive Pavilion by people’s choice during the award-giving ceremony. Thousands of visitors came in during the event, and conversations were struck. The event proceeded towards an end, and countless leads gathered. From Mir Ceramic, Mr. Anwar Hosen (Asst. Manager, Sales and Marketing), Mr. Nirmal Shah (Deputy Manager, Sales and Marketing), Mr. Mizanur Rahman (Asst. Manager, Sales and Marketing), Mr. Faisal Mahmud (Executive, Sales and Marketing), Mr. Shamshuddin Ali Ahsan (Business Development Manager), Kazi Md Abdullah Faruq (GM Sales and Marketing) and Abdulla Al Zaman (Deputy Manager, Brand) graced the event with their presence. Co-Sponsor Stella Luxury Sanitaryware introduced Italian inspired designs and more Stella Luxury Sanitaryware is a renowned brand and a trusted manufacturer of traditional and modern-day-minimalistic ceramic sanitary ware. The company ventured into the ceramic market in 2011, and ever since, has been introducing world-class products at affordable prices. The factory of the company is located in Kaligonj, Gazipur, and in partnership with SACMI, uses European technology to make their products, offering features such as water-saving, anti-scratch, soft-closing seat covers, dual flush technology, and 44 per cent stronger than local standards. The 2022 Ceramic Expo saw Stella Luxury Sanitary Ware highlight the products from the premium segment out of the catalog in their pavilion. We saw different shapes and sizes, from rectangular to oval counter basins, wash basins, high commodes, and a range of products in five light colours and two premium colours. Stella stands out when it comes to resourcefulness, as they always have replacement parts available. The market is saturated
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Partners – A Historical Breakthrough in Ceramic Industry!
China’s ceramic industry has achieved a historic milestone in the goal of carbon neutrality. After nearly one year’s hard research work, the world’s first piece of ceramic tile fired with zero-carbon fuel was successfully produced in Oceano Test Center, giving a great technological support to the building ceramic industry in realising the target of Carbon Peak and Carbon Neutral. It was announced at a press conference in Foshan Xianhu Lab on December 23, 2022, the world’s first piece of ceramic tile f ired with zero-carbon pure ammonia fuel has successfully exited the Ammonia-fueled Roller Kiln at Oceano Test Center. The Associated R&D Center on Advanced Zero-carbon Combustion Technology was jointly established by Foshan Xianhu Lab, Oceano Ceramics and DLT Technology on December 27, 2021. HLT & DLT are the world’s leading suppliers of complete plant equipment for the ceramic sector. To provide turnkey project solutions to the global ceramic industry, Foshan HLT DLT Technology has been the first tunnel kiln that integrated green, low-carbon, and intelligent automation for the Chinese ceramic machinery industry to enter. Headed by Academician Mr. Cheng Yibing, a strategic scientist working at Foshan Xianhu Lab, as Chief Director of the center, the lab was aiming at the key technology of zero-carbon combustion in ceramic kilns to explore new solutions for Chinese ceramic industry. By giving full play to the advantages of the three parties in terms of production, developing and research, the center has developed the “ammonia-hydrogen fusion zero-carbon combustion technology” as well as key systems and solutions for the industrialisation. The center has developed a new series of pure ammonia type and natural gas – ammonia mixture type industrial burners with related auxiliary technologies, having realised stable ignitions in DLT industrial experiment kiln fueled with mixed ammonia and pure ammonia, showing good control of nitrogen oxides emission in compliance with the national standards. This achievement has confirmed for the first time the practical feasibility for the ceramic industry to achieve carbon peak and carbon neutral technology’s industrialisation in the future, marking an important milestone for the industry. The f iring of ceramics with zero-carbon fuel is a disruptive technical innovation, having filled up blanks of both domestic and international, showing a new energy technological path for the ceramic industry as well as for the whole of building material industry to achieve carbon peak and carbon neutral goal with great practical significance. While developing the zero-carbon combustion technology, the team also established a set of safety system and emergency management measures suitable for ammonia-fueled ceramic kilns, including operating procedures, ammonia storage, transportation and other important aspects. Based on this, the team successfully completed the update of Oceano’s ceramic roller kiln by converting the kiln from natural gas fueled mode into pure ammonia and natural gas – ammonia mixture fueled mode. Moreover, it has also developed a precision control system for liquid ammonia evaporation and supply, which is monitoring system for residual ammonia in the fume, and has jointly developed a complete set of high-efficiency liquid ammonia SCR de-nitrification system as well as other technologies and equipment. suitable for the pure ammonia combustion, an online On December 18, 2022, the kiln fueled with 100% ammonia (NH3) successfully produced glazed and unglazed tiles with continuous tile feeding and production. Tested by Oceano Research & Development Center, the quality of finished tiles is above the national standard. According to the on-site test by a third-party environmental assessment agency, the exhausted fume emission of the kiln complies to the national standard. As the first thermal equipment manufacturer to participate in the research and development of Ammonia-Hydrogen Zero-Carbon Combustion Advanced Technology, DLT has been focusing on the energy saving and emission reduction of kilns and dryers for the ceramic industry, and has been contributing greatly to the industry’s carbon consumption reduction in order to undertake its social responsibility. In future, the Associated R&D Center on Advanced Zero-carbon Combustion Technology will be further utilised in the application of mass production in the industry on the basis of the results from this pilot production, and will keep breaking through and optimising the new technology adapting with mass production, as a contribution to the ceramic industry as well as the building material industry to achieve the goal of carbon peak and carbon neutral, in order to create a disruptive technological path leading from “0” into “1” as being the first time in the world. Project Initiation: Ammonia-Hydrogen Zero-Carbon Combustion Tech When the zero carbon combustion chemical equation appeared on the screen of the launch ceremony, it marked a significant breakthrough in carbon neutrality technology. On December 28, the “Advanced Ammonia-Hydrogen Zero-Carbon Combustion Technology Demonstration Project for Ceramic Slab and Tile Mass Production Line” (“Ammonia Hydrogen Zero Carbon Combustion Project”) was officially launched at the headquarters of Monalisa Group. This is a new path explored by Monalisa in collaboration with Foshan Xianhu Laboratory, DLT, Oceano, Guangdong Anqing Technology and other companies to build ceramic zero carbon manufacturing and green development, which marks a major step forward for the industrial application of carbon-neutral technology in China’s ceramics industry, and is of great significance for accelerating the green and low-carbon transformation and development of the industry. Ammonia-hydrogen Zero-Carbon combustion technology to explore the optimal solution for the path of carbon neutrality and emission peak. With the current carbon neutrality and emission peak strategy, hydrogen energy and ammonia energy, as renewable green energy sources with high energy density, good storage and transportation convenience, clean and efficient energy, have gradually become an important part of the future energy system and are energy terminals. At present, the ammonia-hydrogen zero-carbon combustion technology has successfully completed technical tests and demonstration production in the Oceano’s experimental kiln. In order to promote the industrial application of ammonia hydrogen zero carbon combustion technology, Monalisa has joined the industrialisation research project of this technology and launched the demonstration project. Based on the developed advanced ammonia hydrogen zero carbon combustion pilot test and pollutant emission detection and control pilot test, the advanced ammonia hydrogen zero carbon
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Basking in Rome’s Sun In Dhaka
Residing in a quiet corner in Dhaka’s Gulshan area, one can find a mini-Europe as soon as s/he spots Raffinato. “Raffinato Ristorante Italiano” – just by seeing the name, one can already sense its Italian essence. At the first glance, I noticed a cozy, two-story white house with an L-shaped stairway leading to a small balcony, which gave more of a European home vibe.
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Business -Of Verdant Backdrop Red Brick Surface and A Memorial Of Pride.
Architecture, in its own language, has the power to narrate stories, forge distinctive perspectives, and evoke profound emotions. The National Martyrs’ Memorial in Savar is one of those powerful architectures that bear the history and bravery of the nation with its grandeur and glory. Located in Savar, an industrial hub on the outskirts of Dhaka, the monument stands tall as an emblem of reverence, embodying the nation’s profound gratitude to those brave souls who made the ultimate sacrifice in the pursuit of self-determination for the Bengali people. After taking a short tour around it, visitors can’t help but feel a sense of awe and pride as they contemplate the nation’s immense history and resilience. The vast landscape, the luscious greenery surrounding it, and the soaring height of the establishment will remind of its relative insignificance in the grand scheme of things. The month of March in Bangladesh is a time of remembrance and reflection. For millions of Bangladeshis, Independence Day is a day of extraordinary sentiments, containing both happiness and grief as the country earned its sovereignty 54 years ago at the cost of 3 million lives. Three phases of construction: The National Martyrs’ Memorial is designed by architect Syed Mainul Hossain (1952-2014). With a distinguished jury, including architect Muzharul Islam, a national design competition for the monument took place in 1978. (The previous attempt didn’t yield any satisfactory results.) Among 57 contenders, the young 26-year-old architect Mainul emerged victorious with his standout design. The inception of the project dates back to 1972, marking the acquisition of approximately 110 acres by the government. Of this expanse, 84 acres were dedicated to the construction of the main complex, while the remaining land was set aside for a verdant land-water greenbelt. The initial phase saw the creation of access roads, laying the foundation for subsequent development. In the second phase spanning from 1974 to 1982, significant infrastructural elements such as mass graves, helipads, parking facilities, and pavements were meticulously established. Finally, the third phase in 1982 witnessed the realisation of the main monument, along with the establishment of the greenbelt and a cafeteria, concluding the completion of this national monumental endeavour. The main monument was built by Concord in 1982 in only 89 days. In 1988, architect Syed Mainul Hossain received the Ekushey Padak, one of the highest civilian honours of the country, in recognition of his profound contribution to Bangladesh’s cultural heritage. A sneak peek into this architectural marvel: The central structure of the National Martyrs’ Memorial comprises seven pairs of triangular shapes, each representing pivotal events that propelled Bangladesh towards its independence. Starting with the outermost and shortest triangle, the structures progressively increase in height, leading up to the innermost peak. This architectural metaphor symbolises the nation’s ascent despite formidable challenges. The monument is made of concrete, in contrast with the rest of the structures and pavements, which are made of red bricks. Its design offers a multifaceted viewing experience, presenting a symmetrical pyramid-like formation when observed from afar. However, closer inspection reveals a dynamic interplay of angles and perspectives, inviting visitors to explore its intricate details firsthand. Notably, the surface of the structure is intentionally uneven, mirroring the tumultuous journey towards freedom and independence. This tactile representation serves as a poignant reminder of the sacrifices made and the resilience required to overcome adversity. The whole campus is adorned with trees, walkways, an artificial lake, and a cafeteria. Interplay of numbers: Numerology serves as a hidden vital factor behind the intricate design of the National Monument, reminiscent of ancient architectural wonders like the Athenian Parthenon, where numbers were revered as the essence of aesthetic perfection and cosmic harmony. At the heart of this establishment lies the mystical number 7, symbolising the seven pivotal movements that shaped Bangladesh’s path to independence between 1952 and 1971. The first of these 7 historical contexts is the language movement of 1952. This was followed by the United Front elections of 1954, the Constitution Movement of 1956, the Education Movement of 1962, the Six-Point Movement of 1966, the People’s Uprising of 1969, and then the final victory through the Great Liberation War of 1971. However, these 7 pillars or the number 7 also have different implications if we look at them from different facets. For example, among others, the Language Movement in 1952 contains 5+2=7; December 16, the day of independence in 1971, has 1+6=7; and there were 7 Birsreshto (war heroes) who sacrificed their lives for the cause of liberation. Written Kaniz F. Supriya
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Business – Smart Fire Safety is a must for SMART BANGLADESH.
A three-day 9th International Fire Safety and Security Exhibition-2024 concluded with a focus on bolstering Bangladesh’s fire safety measures and aims to reduce fire risks, utilise modern equipment for safety, and raise awareness among the mass people. In the expo held on February 17-19, the people engaged in the industry underscored the need for amending the Bangladesh National Building Code (BNBC) 2020 as part of ensuring preventive measure of fire incidents and maintaining fire safety compliance in factories, housing and public infrastructure including mega projects. Held at the Bangabandhu International Conference Centre (BICC) in Dhaka, the expo was organised by Electronics Safety and Security Association of Bangladesh (ESSAB) in association with Bangladesh Fire Service and Civil Defence (BFSCD), Fire Fighting Equipment Business Owners Association of Bangladesh (FEBOAB), Federation of Bangladesh Chambers of Commerce and Industries (FBCCI), Bangladesh Garment Manufacturers and Exporters Association (BGMEA), Bangladesh Knitwear Manufacturers and Exporters Association (BKMEA), Bangladesh Textile Mills Association (BTMA), Dhaka North and South City Corporations, the Ministry of Commerce, and the Ministry of Home Affairs. More than 100 organisations from 30 countries including the USA, the UK, EU, China, India, the United Arab Emirates, and other Middle East countries took part in the expo. And more than 15,000 local and foreign visitors visited the expo. Salman F. Rahman, Private Industry and Investment Adviser to the Prime Minister, inaugurated the expo on February 17 while Fire Service and Civil Defence Director Brigadier General Mohammad Main Uddin, FBCCI President Mahbubul Alam and BGMEA President Faruque Hassan were present, among others. Brig. Gen. Main Uddin informed a seminar during the expo that the Fire Service and Civil Defence (FSCD) received 22,300 fire incidents per year but last year it was increased to 28,703 while on an average 150 deaths are recorded every year. In these incidents, an average loss was Tk 368 crore each year and the loss amounted to around Tk 793 crore last year. About 36 per cent fire incidents was caused by electricity last year, he added. Architect Iqbal Habib said using technology harnessing data from every level is a must to monitor and manage city infrastructure to build smart city and provide facilities to citizens. He also said if the soft copy of the building design is on the device, it will reach the fire fighters at the premises within a second. The PPP model will ensure smart safety and security solution to make sure that fire incident would not take place. Investment required for boosting the industry: With the expansion of industrialisation, the demand for fire safety and security equipment is rapidly growing in Bangladesh. But the country is still highly dependent on imported products. Industry insiders say Bangladesh has to depend on around 95 per cent import of the products. So, the country has a scope of attracting a huge investment, and also export the products meeting domestic demand for around Tk 15,000 crore market, if investors get adequate policy support from the government. ESSAB Safety Excellence Award 2024: A total of 13 organisations have been awarded at the expo for ensuring building code compliance and fire safety measures in residential, industrial, commercial buildings. Among them, Rancon Artisti Residences stood first in the residential building category, while Sheltech Rubynur stood second, and Concord Shapla third. In the Commercial Building Category, Shanta Forum, Concord MK Heritage and BGMEA Complex received the award as the First, Runner-Up and Second Runner-Up. Six companies jointly won the excellence award in the Industrial (RMG) category. Among them, Glamour Dresses Ltd. and Designtex Knitwear Ltd. were named the top winners. Tasniah Fabrics Ltd. and SQ Birichina Ltd. came next, followed by Sterling Denims Ltd. and Silken Sewing Ltd. Besides, BM Container Depot Ltd. received the award in the industrial other category. ESSAB also gave special recognition to five fire service personnel for their brave role in fire fighting and rescue operations. They are Deputy Assistant Director of Fire Service and Civil Defence Department Md. Faisalur Rahman and Mohammad Safiqul Islam, Senior Station Officer Md. Nazim Uddin Sarkar, Warehouse Inspector Md. Zahirul Islam and Fire Fighter Alhaj Miah. PPP required to explore untapped market: ESSAB: The ESSAB Secretary General, Zakir Uddin Ahmed, said the sector is important to protect people’s lives and properties from fire and earthquake incidents, and ensure sustainable economic development. So, what are needed include significant awareness, regular checks of the fire safety equipment, and use of quality materials. Mr. Zakir, also Chief Executive Officer of ZM International, stated that PPP is required to explore the untapped market. “We are ready to help investors here. So, policy assistance is the main issue to bring more investment. To create awareness, he fires safety issue should be included in textbooks,” he said adding that high import duty on the products is a key challenge in the industry. In this context, the government should provide all necessary facilities such as policy support, duty cut, and incentive so that investors come to invest in the sector.
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Business – A Glimpse of Timeless Elegance in the British-Pub Revival named BAGHA Club
Located in the Gulshan, Dhaka, the newly renovated bar of The British Aid Guest House Association (BAGHA) Club is a renovation project designed by Zero Inch Interiors Ltd. The British-Pub-inspired interior design of the BAGHA Club’s bar is conceptualised to transform the space into a comfortable and cozy space. The guiding vision for the interior design of the bar has aimed to offer club members a sanctuary – a place where they could briefly detach from their demanding routines, relax, and recharge in a welcoming atmosphere following a day of work. The British Aid Guest House Association (BAGHA) Club was established in 1979. It is a part of the British High Commission estate and proudly serves a wonderfully diverse mix of European Union nationals. Among various amenities that the club offers, including a tennis court, children’s play area, all-day restaurants, swimming pools, and a library, the bar stands out as a focal point of social interaction and relaxation. Recently undergoing a remarkable renovation by the design team of Zero Inch Interiors Ltd., the British-Pub-inspired interior now exudes a timeless charm that seamlessly blends the traditional British pub environment with modern aesthetics. The Concept Behind the Renovation Project The interior embodies a distinctive British Pub aesthetic, interpreting traditional British elements in a contemporary style. Sharing the concept of the BAGHA club, Architect Ariful Islam says, “The idea was to renovate the bar in resemblance to British pubs, while, at the same time, doing it with minimal intervention to make the space inviting, cozy, and long-lasting.” A wall was dismantled, which, in fact, made the most visible change and expanded the space. This step in design resulted in lightening up the atmosphere of the club. After rethinking the space, the modified open-plan layout ensured that the bar counter was transformed into a rectangular shape, making it interactive and interesting. The renovation overall, therefore, achieves a delicate balance between reflecting the charm of British pubs and infusing a modern, vibrant dynamism into the space. Challenges in the Interior Design Designed by architect Muhammad Ariful Islam and his team in a remarkably brief two-month timeframe, this 2800-square-foot contemporary renovation stands as a one-of-a-kind endeavour in Bangladesh. “We’re confined to some challenges as the site was a rental space, which dictated that major demolitions were not permissible here,” added the architect. The primary challenges faced by the design team during the construction phase of the bar interior design were centred around the principles of minimal design intervention, budget constraints, and the necessity to execute the design within a notably short timeframe. Balancing all these constraints required careful consideration and strategic decision-making to ensure the success and execution of the envisioned space. Color Palette and Materiality In this interior project, wood has been selected as the primary construction material, complemented by glass and metal details. The utilisation of wooden panels, intricate carvings, and carefully curated lighting collectively contribute to creating a cozy, warm, and inviting ambiance. Furthermore, the extensive collection of bar accessories enhances the overall visual appeal, adding a layer of sophistication to the space. A new bar counter along with bar stools have been incorporated into the bar interior design, and this rendition perfectly completes the bar. The stunning stools with red-wine upholstery add a dash of colour to the interior and complement the wooden tone. Lastly, the sophisticated chandeliers add a dramatic charm to the entire British Pub ambiance. Architect Ariful Islam explains, “We preferred Challenges in the Interior Design Designed by architect Muhammad Ariful Islam and his team in a remarkably brief two-month timeframe, this 2800-square-foot contemporary renovation stands as a one-of-a-kind endeavour in Bangladesh. “We’re confined to some challenges as the site was a rental space, which dictated that major demolitions were not permissible here,” added the architect. The primary challenges faced by the design team during the construction phase of the bar interior design were centred around the principles of minimal design intervention, budget constraints, and the necessity to execute the design within a notably short timeframe. Balancing all these constraints required careful consideration and strategic decision-making to ensure the success and execution of the envisioned space. Color Palette and Materiality In this interior project, wood has been selected as the primary construction material, complemented by glass and metal details. The utilisation of wooden panels, intricate carvings, and carefully curated lighting collectively contribute to creating a cozy, warm, and inviting ambiance. Furthermore, the extensive collection of bar accessories enhances the overall visual appeal, adding a layer of sophistication to the space. A new bar counter along with bar stools have been incorporated into the bar interior design, and this rendition perfectly completes the bar. The stunning stools with red-wine upholstery add a dash of colour to the interior and complement the wooden tone. Lastly, the sophisticated chandeliers add a dramatic charm to the entire British Pub ambiance. to choose wood as the primary material because when warm light falls on wood, it creates a golden effect. The red hues further enhance the vibrancy and liveliness of the space.” The ceiling is kept simple and devoid of (intricate) details, maintaining a blackout effect. The flooring features darker tones with rustic tiles adorned with wooden patterns. This careful selection of materials and design elements contributes to the overall coherence and elegance of the bar’s interior. Zero Waste Design Philosophy One mentionable feature of this renovation is the Zero Waste Design Philosophy of the design team. In adherence to this design philosophy, they embraced creative methods to repurpose furniture in the design of this bar. Through a commitment to sustainability, repurposed and recycled furniture, along with other items, were integrated into the overall design. Each furniture piece underwent resizing and repainting to align with current functional needs. Another key aspect of the sustainability initiative involved the replacement of all damaged glass windows, which were previously allowing rainwater to infiltrate the interior. By incorporating new, weather-resistant windows, they not only addressed the structural issues but also contributed to the energy efficiency of the
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Spotlight Of Verdant Backdrop Red Brick Surface and A Memorial Of Pride
Architecture, in its own language, has the power to narrate stories, forge distinctive perspectives, and evoke profound emotions. The National Martyrs’ Memorial in Savar is one of those powerful architectures that bear the history and bravery of the nation with its grandeur and glory. Located in Savar, an industrial hub on the outskirts of Dhaka, the monument stands tall as an emblem of reverence, embodying the nation’s profound gratitude to those brave souls who made the ultimate sacrifice in the pursuit of self-determination for the Bengali people. After taking a short tour around it, visitors can’t help but feel a sense of awe and pride as they contemplate the nation’s immense history and resilience. The vast landscape, the luscious greenery surrounding it, and the soaring height of the establishment will remind of its relative insignificance in the grand scheme of things. The month of March in Bangladesh is a time of remembrance and reflection. For millions of Bangladeshis, Independence Day is a day of extraordinary sentiments, containing both happiness and grief as the country earned its sovereignty 54 years ago at the cost of 3 million lives. Three phases of construction: The National Martyrs’ Memorial is designed by architect Syed Mainul Hossain (1952-2014). With a distinguished jury, including architect Muzharul Islam, a national design competition for the monument took place in 1978. (The previous attempt didn’t yield any satisfactory results.) Among 57 contenders, the young 26-year-old architect Mainul emerged victorious with his standout design. The inception of the project dates back to 1972, marking the acquisition of approximately 110 acres by the government. Of this expanse, 84 acres were dedicated to the construction of the main complex, while the remaining land was set aside for a verdant land-water greenbelt. The initial phase saw the creation of access roads, laying the foundation for subsequent development. In the second phase spanning from 1974 to 1982, significant infrastructural elements such as mass graves, helipads, parking facilities, and pavements were meticulously established. Finally, the third phase in 1982 witnessed the realisation of the main monument, along with the establishment of the greenbelt and a cafeteria, concluding the completion of this national monumental endeavour. The main monument was built by Concord in 1982 in only 89 days. In 1988, architect Syed Mainul Hossain received the Ekushey Padak, one of the highest civilian honours of the country, in recognition of his profound contribution to Bangladesh’s cultural heritage. A sneak peek into this architectural marvel: The central structure of the National Martyrs’ Memorial comprises seven pairs of triangular shapes, each representing pivotal events that propelled Bangladesh towards its independence. Starting with the outermost and shortest triangle, the structures progressively increase in height, leading up to the innermost peak. This architectural metaphor symbolises the nation’s ascent despite formidable challenges. The monument is made of concrete, in contrast with the rest of the structures and pavements, which are made of red bricks. Its design offers a multifaceted viewing experience, presenting a symmetrical pyramid-like formation when observed from afar. However, closer inspection reveals a dynamic interplay of angles and perspectives, inviting visitors to explore its intricate details firsthand. Notably, the surface of the structure is intentionally uneven, mirroring the tumultuous journey towards freedom and independence. This tactile representation serves as a poignant reminder of the sacrifices made and the resilience required to overcome adversity. The whole campus is adorned with trees, walkways, an artificial lake, and a cafeteria. Interplay of numbers: Numerology serves as a hidden vital factor behind the intricate design of the National Monument, reminiscent of ancient architectural wonders like the Athenian Parthenon, where numbers were revered as the essence of aesthetic perfection and cosmic harmony. At the heart of this establishment lies the mystical number 7, symbolising the seven pivotal movements that shaped Bangladesh’s path to independence between 1952 and 1971. The first of these 7 historical contexts is the language movement of 1952. This was followed by the United Front elections of 1954, the Constitution Movement of 1956, the Education Movement of 1962, the Six-Point Movement of 1966, the People’s Uprising of 1969, and then the final victory through the Great Liberation War of 1971. However, these 7 pillars or the number 7 also have different implications if we look at them from different facets. For example, among others, the Language Movement in 1952 contains 5+2=7; December 16, the day of independence in 1971, has 1+6=7; and there were 7 Birsreshto (war heroes) who sacrificed their lives for the cause of liberation. Written Kaniz F. Supriya
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Spotlight Smart Fire Safety is a must for SMART BANGLADESH
A three-day 9th International Fire Safety and Security Exhibition-2024 concluded with a focus on bolstering Bangladesh’s fire safety measures and aims to reduce fire risks, utilise modern equipment for safety, and raise awareness among the mass people. In the expo held on February 17-19, the people engaged in the industry underscored the need for amending the Bangladesh National Building Code (BNBC) 2020 as part of ensuring preventive measure of fire incidents and maintaining fire safety compliance in factories, housing and public infrastructure including mega projects. Held at the Bangabandhu International Conference Centre (BICC) in Dhaka, the expo was organised by Electronics Safety and Security Association of Bangladesh (ESSAB) in association with Bangladesh Fire Service and Civil Defence (BFSCD), Fire Fighting Equipment Business Owners Association of Bangladesh (FEBOAB), Federation of Bangladesh Chambers of Commerce and Industries (FBCCI), Bangladesh Garment Manufacturers and Exporters Association (BGMEA), Bangladesh Knitwear Manufacturers and Exporters Association (BKMEA), Bangladesh Textile Mills Association (BTMA), Dhaka North and South City Corporations, the Ministry of Commerce, and the Ministry of Home Affairs. More than 100 organisations from 30 countries including the USA, the UK, EU, China, India, the United Arab Emirates, and other Middle East countries took part in the expo. And more than 15,000 local and foreign visitors visited the expo. Salman F. Rahman, Private Industry and Investment Adviser to the Prime Minister, inaugurated the expo on February 17 while Fire Service and Civil Defence Director Brigadier General Mohammad Main Uddin, FBCCI President Mahbubul Alam and BGMEA President Faruque Hassan were present, among others. Brig. Gen. Main Uddin informed a seminar during the expo that the Fire Service and Civil Defence (FSCD) received 22,300 fire incidents per year but last year it was increased to 28,703 while on an average 150 deaths are recorded every year. In these incidents, an average loss was Tk 368 crore each year and the loss amounted to around Tk 793 crore last year. About 36 per cent fire incidents was caused by electricity last year, he added. Architect Iqbal Habib said using technology harnessing data from every level is a must to monitor and manage city infrastructure to build smart city and provide facilities to citizens. He also said if the soft copy of the building design is on the device, it will reach the fire fighters at the premises within a second. The PPP model will ensure smart safety and security solution to make sure that fire incident would not take place. Investment required for boosting the industry: With the expansion of industrialisation, the demand for fire safety and security equipment is rapidly growing in Bangladesh. But the country is still highly dependent on imported products. Industry insiders say Bangladesh has to depend on around 95 per cent import of the products. So, the country has a scope of attracting a huge investment, and also export the products meeting domestic demand for around Tk 15,000 crore market, if investors get adequate policy support from the government. ESSAB Safety Excellence Award 2024: A total of 13 organisations have been awarded at the expo for ensuring building code compliance and fire safety measures in residential, industrial, commercial buildings. Among them, Rancon Artisti Residences stood first in the residential building category, while Sheltech Rubynur stood second, and Concord Shapla third. In the Commercial Building Category, Shanta Forum, Concord MK Heritage and BGMEA Complex received the award as the First, Runner-Up and Second Runner-Up. Six companies jointly won the excellence award in the Industrial (RMG) category. Among them, Glamour Dresses Ltd. and Designtex Knitwear Ltd. were named the top winners. Tasniah Fabrics Ltd. and SQ Birichina Ltd. came next, followed by Sterling Denims Ltd. and Silken Sewing Ltd. Besides, BM Container Depot Ltd. received the award in the industrial other category. ESSAB also gave special recognition to five fire service personnel for their brave role in fire fighting and rescue operations. They are Deputy Assistant Director of Fire Service and Civil Defence Department Md. Faisalur Rahman and Mohammad Safiqul Islam, Senior Station Officer Md. Nazim Uddin Sarkar, Warehouse Inspector Md. Zahirul Islam and Fire Fighter Alhaj Miah. PPP required to explore untapped market: ESSAB: The ESSAB Secretary General, Zakir Uddin Ahmed, said the sector is important to protect people’s lives and properties from fire and earthquake incidents, and ensure sustainable economic development. So, what are needed include significant awareness, regular checks of the fire safety equipment, and use of quality materials. Mr. Zakir, also Chief Executive Officer of ZM International, stated that PPP is required to explore the untapped market. “We are ready to help investors here. So, policy assistance is the main issue to bring more investment. To create awareness, he fires safety issue should be included in textbooks,” he said adding that high import duty on the products is a key challenge in the industry. In this context, the government should provide all necessary facilities such as policy support, duty cut, and incentive so that investors come to invest in the sector.
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A Glimpse of Timeless Elegance in the British-Pub Revival named BAGHA Club
Located in the Gulshan, Dhaka, the newly renovated bar of The British Aid Guest House Association (BAGHA) Club is a renovation project designed by Zero Inch Interiors Ltd. The British-Pub-inspired interior design of the BAGHA Club’s bar is conceptualised to transform the space into a comfortable and cozy space. The guiding vision for the interior design of the bar has aimed to offer club members a sanctuary – a place where they could briefly detach from their demanding routines, relax, and recharge in a welcoming atmosphere following a day of work. The British Aid Guest House Association (BAGHA) Club was established in 1979. It is a part of the British High Commission estate and proudly serves a wonderfully diverse mix of European Union nationals. Among various amenities that the club offers, including a tennis court, children’s play area, all-day restaurants, swimming pools, and a library, the bar stands out as a focal point of social interaction and relaxation. Recently undergoing a remarkable renovation by the design team of Zero Inch Interiors Ltd., the British-Pub-inspired interior now exudes a timeless charm that seamlessly blends the traditional British pub environment with modern aesthetics. The Concept Behind the Renovation Project The interior embodies a distinctive British Pub aesthetic, interpreting traditional British elements in a contemporary style. Sharing the concept of the BAGHA club, Architect Ariful Islam says, “The idea was to renovate the bar in resemblance to British pubs, while, at the same time, doing it with minimal intervention to make the space inviting, cozy, and long-lasting.” A wall was dismantled, which, in fact, made the most visible change and expanded the space. This step in design resulted in lightening up the atmosphere of the club. After rethinking the space, the modified open-plan layout ensured that the bar counter was transformed into a rectangular shape, making it interactive and interesting. The renovation overall, therefore, achieves a delicate balance between reflecting the charm of British pubs and infusing a modern, vibrant dynamism into the space. Challenges in the Interior Design Designed by architect Muhammad Ariful Islam and his team in a remarkably brief two-month timeframe, this 2800-square-foot contemporary renovation stands as a one-of-a-kind endeavour in Bangladesh. “We’re confined to some challenges as the site was a rental space, which dictated that major demolitions were not permissible here,” added the architect. The primary challenges faced by the design team during the construction phase of the bar interior design were centred around the principles of minimal design intervention, budget constraints, and the necessity to execute the design within a notably short timeframe. Balancing all these constraints required careful consideration and strategic decision-making to ensure the success and execution of the envisioned space. Color Palette and Materiality In this interior project, wood has been selected as the primary construction material, complemented by glass and metal details. The utilisation of wooden panels, intricate carvings, and carefully curated lighting collectively contribute to creating a cozy, warm, and inviting ambiance. Furthermore, the extensive collection of bar accessories enhances the overall visual appeal, adding a layer of sophistication to the space. A new bar counter along with bar stools have been incorporated into the bar interior design, and this rendition perfectly completes the bar. The stunning stools with red-wine upholstery add a dash of colour to the interior and complement the wooden tone. Lastly, the sophisticated chandeliers add a dramatic charm to the entire British Pub ambiance. Architect Ariful Islam explains, “We preferred Challenges in the Interior Design Designed by architect Muhammad Ariful Islam and his team in a remarkably brief two-month timeframe, this 2800-square-foot contemporary renovation stands as a one-of-a-kind endeavour in Bangladesh. “We’re confined to some challenges as the site was a rental space, which dictated that major demolitions were not permissible here,” added the architect. The primary challenges faced by the design team during the construction phase of the bar interior design were centred around the principles of minimal design intervention, budget constraints, and the necessity to execute the design within a notably short timeframe. Balancing all these constraints required careful consideration and strategic decision-making to ensure the success and execution of the envisioned space. Color Palette and Materiality In this interior project, wood has been selected as the primary construction material, complemented by glass and metal details. The utilisation of wooden panels, intricate carvings, and carefully curated lighting collectively contribute to creating a cozy, warm, and inviting ambiance. Furthermore, the extensive collection of bar accessories enhances the overall visual appeal, adding a layer of sophistication to the space. A new bar counter along with bar stools have been incorporated into the bar interior design, and this rendition perfectly completes the bar. The stunning stools with red-wine upholstery add a dash of colour to the interior and complement the wooden tone. Lastly, the sophisticated chandeliers add a dramatic charm to the entire British Pub ambiance. to choose wood as the primary material because when warm light falls on wood, it creates a golden effect. The red hues further enhance the vibrancy and liveliness of the space.” The ceiling is kept simple and devoid of (intricate) details, maintaining a blackout effect. The flooring features darker tones with rustic tiles adorned with wooden patterns. This careful selection of materials and design elements contributes to the overall coherence and elegance of the bar’s interior. Zero Waste Design Philosophy One mentionable feature of this renovation is the Zero Waste Design Philosophy of the design team. In adherence to this design philosophy, they embraced creative methods to repurpose furniture in the design of this bar. Through a commitment to sustainability, repurposed and recycled furniture, along with other items, were integrated into the overall design. Each furniture piece underwent resizing and repainting to align with current functional needs. Another key aspect of the sustainability initiative involved the replacement of all damaged glass windows, which were previously allowing rainwater to infiltrate the interior. By incorporating new, weather-resistant windows, they not only addressed the structural issues but also contributed to the energy efficiency of the
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Spotlight Artisan Ceramics at the forefront (04)
Amongst the Royal collection in the Buckingham Palace resides gold-covered renditions of Artisan Ceramics. From a company struggling to export, to winning the national export trophy five times in a row, Artisan Ceramics has seen 3 times expansion over the past few years. The entirety of a company’s growth and success inevitably relies on the decisions made internally. Artisan Ceramics Ltd. suffered significant loss until 2011. With new leadership under Finlays, and a change in the modality of business and redesigning, it now has a factory constructed across six acres of land in Sreepur, Gazipur, and a capacity of producing 10 million pieces of assorted premium quality porcelain tableware annually. The current expansion will raise this capacity to 22 million. Artisan Ceramics is an export-oriented tableware company that supplies to over 20 countries across Europe, America, and Asia, and has evolved into a leading manufacturer with no stop to its growth. The company has a contribution of 12-15 percent in the national export revenue. Surely, success in such a short time is a wonder on its own. To find out more, Ceramic Bangladesh Magazine author recently had the opportunity to discuss the adaptations of Artisan Ceramics that led to its success, with M. Mamunur Rashid, CEO of Artisan Ceramics Ltd. Here’s what we’ve learned: The first adaptation Artisan knew Saggar firing was wasteful Saggar or Saguaro is a covering used over ceramic ware when under intensive firing in the kilns. This protection helps safeguard the ware from coming in direct contact with the Kiln, debris inside the kiln, and other gases and smoke. The problem with saggar firing is that the saggar heats up first and then transfers the heat to the product; this makes the process 15-hour long cycle. With Artisan’s adaptation, open and fast firing, it’s a six-hour firing process. “Time-wise and price-wise, Saggar is inefficient. Again, there is the cost of the man behind the machine,” says Mr. Rashid. Fired three times for a longer life! “I have traveled across more than 10 countries just to see the technology companies have adopted, and learned, that the type of products we tend to manufacture are widely unavailable,” said Mr. Rashid. “We have products that have been fired three times, which make them much more durable. These products are more popular in Europe since they are more durable and can withstand knives and forks,” he added. At Artisan, products are fired at high degrees of temperatures — 1330°C to 1350°C, about 100° higher than the global rivals. Discussing global demand with relevance to this particular firing process, we find: “The hard glaze we are using, makes the product stronger, more scratch-proof, and absorption free,” said Mr. Rashid. The global demand has shifted towards such products because of such features. Raw materials sourced from around the world Artisan Ceramics sources its raw materials from almost every corner of the globe –the UK, Germany, Italy, New Zealand, Vietnam, Japan, China, and India are some of them. The two types of minerals that make up for 50% of the body, feldspar, and quartz, are brought in from Rajasthan, India. The company also imports alumina which is used to make the body stronger and helps meet HoReCa standards. “Using the best quality raw material with a natural colour is important because the glaze is translucent and the body colour is what you see,” he said. These designs are in trend now and a personal favourite of Mr. Rashid. The company even imports from specific mines. Furthermore, Artisan buys the best quality gold from Heraeus Germany and colors from Izawa Pigments, Japan. Innovative Designs that go well with the trend, and the technology behind it. Artisan is constantly working on new designs. “We are innovating and have recently created double-layer body tea cup that keeps tea & coffee warm for a longer period of time,” Mr. Rashid mentioned. The design depends on customer trends and comes in cyclic order, says Mr. Rashid. Something that is currently trending are reactive glazes where you allow the finishing to be exactly how the kilns are making them fascinate many people. “Keeping up with the ever-evolving trends is a constant challenge, but traditional designs have resurfaced and are a popular preference now,” said Mr. Rashid. Artisan will be introducing a certain collection inspired by the Rajasthani culture. A designer from Sri Lanka by the name of Sudath Fernando is also coming in to train employees. Stay tuned with us for future features. Regarding technology, he said: “We want to make our factory fuel efficient. Our dryers are like ovens that collect heat and reuse it. I have visited a few factories in Europe and have seen how they are doing things, we have called SACMI, Italy, to help us upgrade.” The machines at Artisan’s factory are from the USA, the UK, Japan, Taiwan, and China. Artisan has taken green initiatives- they refine and reuse 90% of wastewater, collect rainwater in underground tanks, and reuse heat from the ovens. The company purifies water to the extent that it can be used for irrigation. “Every factory is concerned and the government is putting emphasis on sustainable approaches,” stated Mr. Rashid. Artisan’s plan to sell in bulk Following the recent expansion, Artisan is now concentrating on bulk buyers- examples would be hypermarkets. The marketing team is also trying to bring about a trend change by promoting the use of porcelain over bone china. This is because the water absorption of Bone China is high, it loses colour, and porcelain survives longer. Ultra Bone Porcelain: the newest innovation from Artisan Some customers are price-centric and some look for quality. That is why Artisan needed to innovate a new product retaining the same mechanical strength of pure porcelain and exceptional whiteness that was sure to win people over. Henceforth, came the Ultra Bone Porcelain. Mr. Rashid introduced a special body that can beat the competition and customers are willing to pay premium price for it. Artisan performs CSR Artisan gives education
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Artisan Ceramics at the forefront
Amongst the Royal collection in the Buckingham Palace resides gold-covered renditions of Artisan Ceramics. From a company struggling to export, to winning the national export trophy five times in a row, Artisan Ceramics has seen 3 times expansion over the past few years. The entirety of a company’s growth and success inevitably relies on the decisions made internally. Artisan Ceramics Ltd. suffered significant loss until 2011. With new leadership under Finlays, and a change in the modality of business and redesigning, it now has a factory constructed across six acres of land in Sreepur, Gazipur, and a capacity of producing 10 million pieces of assorted premium quality porcelain tableware annually. The current expansion will raise this capacity to 22 million. Artisan Ceramics is an export-oriented tableware company that supplies to over 20 countries across Europe, America, and Asia, and has evolved into a leading manufacturer with no stop to its growth. The company has a contribution of 12-15 percent in the national export revenue. Surely, success in such a short time is a wonder on its own. To find out more, Ceramic Bangladesh Magazine author recently had the opportunity to discuss the adaptations of Artisan Ceramics that led to its success, with M. Mamunur Rashid, CEO of Artisan Ceramics Ltd. Here’s what we’ve learned: The first adaptation Artisan knew Saggar firing was wasteful Saggar or Saguaro is a covering used over ceramic ware when under intensive firing in the kilns. This protection helps safeguard the ware from coming in direct contact with the Kiln, debris inside the kiln, and other gases and smoke. The problem with saggar firing is that the saggar heats up first and then transfers the heat to the product; this makes the process 15-hour long cycle. With Artisan’s adaptation, open and fast firing, it’s a six-hour firing process. “Time-wise and price-wise, Saggar is inefficient. Again, there is the cost of the man behind the machine,” says Mr. Rashid. Fired three times for a longer life! “I have traveled across more than 10 countries just to see the technology companies have adopted, and learned, that the type of products we tend to manufacture are widely unavailable,” said Mr. Rashid. “We have products that have been fired three times, which make them much more durable. These products are more popular in Europe since they are more durable and can withstand knives and forks,” he added. At Artisan, products are fired at high degrees of temperatures — 1330°C to 1350°C, about 100° higher than the global rivals. Discussing global demand with relevance to this particular firing process, we find: “The hard glaze we are using, makes the product stronger, more scratch-proof, and absorption free,” said Mr. Rashid. The global demand has shifted towards such products because of such features. Raw materials sourced from around the world Artisan Ceramics sources its raw materials from almost every corner of the globe –the UK, Germany, Italy, New Zealand, Vietnam, Japan, China, and India are some of them. The two types of minerals that make up for 50% of the body, feldspar, and quartz, are brought in from Rajasthan, India. The company also imports alumina which is used to make the body stronger and helps meet HoReCa standards. “Using the best quality raw material with a natural colour is important because the glaze is translucent and the body colour is what you see,” he said. These designs are in trend now and a personal favourite of Mr. Rashid. The company even imports from specific mines. Furthermore, Artisan buys the best quality gold from Heraeus Germany and colors from Izawa Pigments, Japan. Innovative Designs that go well with the trend, and the technology behind it. Artisan is constantly working on new designs. “We are innovating and have recently created double-layer body tea cup that keeps tea & coffee warm for a longer period of time,” Mr. Rashid mentioned. The design depends on customer trends and comes in cyclic order, says Mr. Rashid. Something that is currently trending are reactive glazes where you allow the finishing to be exactly how the kilns are making them fascinate many people. “Keeping up with the ever-evolving trends is a constant challenge, but traditional designs have resurfaced and are a popular preference now,” said Mr. Rashid. Artisan will be introducing a certain collection inspired by the Rajasthani culture. A designer from Sri Lanka by the name of Sudath Fernando is also coming in to train employees. Stay tuned with us for future features. Regarding technology, he said: “We want to make our factory fuel efficient. Our dryers are like ovens that collect heat and reuse it. I have visited a few factories in Europe and have seen how they are doing things, we have called SACMI, Italy, to help us upgrade.” The machines at Artisan’s factory are from the USA, the UK, Japan, Taiwan, and China. Artisan has taken green initiatives- they refine and reuse 90% of wastewater, collect rainwater in underground tanks, and reuse heat from the ovens. The company purifies water to the extent that it can be used for irrigation. “Every factory is concerned and the government is putting emphasis on sustainable approaches,” stated Mr. Rashid. Artisan’s plan to sell in bulk Following the recent expansion, Artisan is now concentrating on bulk buyers- examples would be hypermarkets. The marketing team is also trying to bring about a trend change by promoting the use of porcelain over bone china. This is because the water absorption of Bone China is high, it loses colour, and porcelain survives longer. Ultra Bone Porcelain: the newest innovation from Artisan Some customers are price-centric and some look for quality. That is why Artisan needed to innovate a new product retaining the same mechanical strength of pure porcelain and exceptional whiteness that was sure to win people over. Henceforth, came the Ultra Bone Porcelain. Mr. Rashid introduced a special body that can beat the competition and customers are willing to pay premium price for it. Artisan performs CSR Artisan gives education
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Smart Fire Safety is a must for SMART BANGLADESH
A three-day 9th International Fire Safety and Security Exhibition-2024 concluded with a focus on bolstering Bangladesh’s fire safety measures and aims to reduce fire risks, utilise modern equipment for safety, and raise awareness among the mass people. In the expo held on February 17-19, the people engaged in the industry underscored the need for amending the Bangladesh National Building Code (BNBC) 2020 as part of ensuring preventive measure of fire incidents and maintaining fire safety compliance in factories, housing and public infrastructure including mega projects. Held at the Bangabandhu International Conference Centre (BICC) in Dhaka, the expo was organised by Electronics Safety and Security Association of Bangladesh (ESSAB) in association with Bangladesh Fire Service and Civil Defence (BFSCD), Fire Fighting Equipment Business Owners Association of Bangladesh (FEBOAB), Federation of Bangladesh Chambers of Commerce and Industries (FBCCI), Bangladesh Garment Manufacturers and Exporters Association (BGMEA), Bangladesh Knitwear Manufacturers and Exporters Association (BKMEA), Bangladesh Textile Mills Association (BTMA), Dhaka North and South City Corporations, the Ministry of Commerce, and the Ministry of Home Affairs. More than 100 organisations from 30 countries including the USA, the UK, EU, China, India, the United Arab Emirates, and other Middle East countries took part in the expo. And more than 15,000 local and foreign visitors visited the expo. Salman F. Rahman, Private Industry and Investment Adviser to the Prime Minister, inaugurated the expo on February 17 while Fire Service and Civil Defence Director Brigadier General Mohammad Main Uddin, FBCCI President Mahbubul Alam and BGMEA President Faruque Hassan were present, among others. Brig. Gen. Main Uddin informed a seminar during the expo that the Fire Service and Civil Defence (FSCD) received 22,300 fire incidents per year but last year it was increased to 28,703 while on an average 150 deaths are recorded every year. In these incidents, an average loss was Tk 368 crore each year and the loss amounted to around Tk 793 crore last year. About 36 per cent fire incidents was caused by electricity last year, he added. Architect Iqbal Habib said using technology harnessing data from every level is a must to monitor and manage city infrastructure to build smart city and provide facilities to citizens. He also said if the soft copy of the building design is on the device, it will reach the fire fighters at the premises within a second. The PPP model will ensure smart safety and security solution to make sure that fire incident would not take place. Investment required for boosting the industry: With the expansion of industrialisation, the demand for fire safety and security equipment is rapidly growing in Bangladesh. But the country is still highly dependent on imported products. Industry insiders say Bangladesh has to depend on around 95 per cent import of the products. So, the country has a scope of attracting a huge investment, and also export the products meeting domestic demand for around Tk 15,000 crore market, if investors get adequate policy support from the government. ESSAB Safety Excellence Award 2024: A total of 13 organisations have been awarded at the expo for ensuring building code compliance and fire safety measures in residential, industrial, commercial buildings. Among them, Rancon Artisti Residences stood first in the residential building category, while Sheltech Rubynur stood second, and Concord Shapla third. In the Commercial Building Category, Shanta Forum, Concord MK Heritage and BGMEA Complex received the award as the First, Runner-Up and Second Runner-Up. Six companies jointly won the excellence award in the Industrial (RMG) category. Among them, Glamour Dresses Ltd. and Designtex Knitwear Ltd. were named the top winners. Tasniah Fabrics Ltd. and SQ Birichina Ltd. came next, followed by Sterling Denims Ltd. and Silken Sewing Ltd. Besides, BM Container Depot Ltd. received the award in the industrial other category. ESSAB also gave special recognition to five fire service personnel for their brave role in fire fighting and rescue operations. They are Deputy Assistant Director of Fire Service and Civil Defence Department Md. Faisalur Rahman and Mohammad Safiqul Islam, Senior Station Officer Md. Nazim Uddin Sarkar, Warehouse Inspector Md. Zahirul Islam and Fire Fighter Alhaj Miah. PPP required to explore untapped market: ESSAB: The ESSAB Secretary General, Zakir Uddin Ahmed, said the sector is important to protect people’s lives and properties from fire and earthquake incidents, and ensure sustainable economic development. So, what are needed include significant awareness, regular checks of the fire safety equipment, and use of quality materials. Mr. Zakir, also Chief Executive Officer of ZM International, stated that PPP is required to explore the untapped market. “We are ready to help investors here. So, policy assistance is the main issue to bring more investment. To create awareness, he fires safety issue should be included in textbooks,” he said adding that high import duty on the products is a key challenge in the industry. In this context, the government should provide all necessary facilities such as policy support, duty cut, and incentive so that investors come to invest in the sector.
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Of Verdant Backdrop Red Brick Surface and A Memorial Of Pride
Architecture, in its own language, has the power to narrate stories, forge distinctive perspectives, and evoke profound emotions. The National Martyrs’ Memorial in Savar is one of those powerful architectures that bear the history and bravery of the nation with its grandeur and glory. Located in Savar, an industrial hub on the outskirts of Dhaka, the monument stands tall as an emblem of reverence, embodying the nation’s profound gratitude to those brave souls who made the ultimate sacrifice in the pursuit of self-determination for the Bengali people. After taking a short tour around it, visitors can’t help but feel a sense of awe and pride as they contemplate the nation’s immense history and resilience. The vast landscape, the luscious greenery surrounding it, and the soaring height of the establishment will remind of its relative insignificance in the grand scheme of things. The month of March in Bangladesh is a time of remembrance and reflection. For millions of Bangladeshis, Independence Day is a day of extraordinary sentiments, containing both happiness and grief as the country earned its sovereignty 54 years ago at the cost of 3 million lives. Three phases of construction: The National Martyrs’ Memorial is designed by architect Syed Mainul Hossain (1952-2014). With a distinguished jury, including architect Muzharul Islam, a national design competition for the monument took place in 1978. (The previous attempt didn’t yield any satisfactory results.) Among 57 contenders, the young 26-year-old architect Mainul emerged victorious with his standout design. The inception of the project dates back to 1972, marking the acquisition of approximately 110 acres by the government. Of this expanse, 84 acres were dedicated to the construction of the main complex, while the remaining land was set aside for a verdant land-water greenbelt. The initial phase saw the creation of access roads, laying the foundation for subsequent development. In the second phase spanning from 1974 to 1982, significant infrastructural elements such as mass graves, helipads, parking facilities, and pavements were meticulously established. Finally, the third phase in 1982 witnessed the realisation of the main monument, along with the establishment of the greenbelt and a cafeteria, concluding the completion of this national monumental endeavour. The main monument was built by Concord in 1982 in only 89 days. In 1988, architect Syed Mainul Hossain received the Ekushey Padak, one of the highest civilian honours of the country, in recognition of his profound contribution to Bangladesh’s cultural heritage. A sneak peek into this architectural marvel: The central structure of the National Martyrs’ Memorial comprises seven pairs of triangular shapes, each representing pivotal events that propelled Bangladesh towards its independence. Starting with the outermost and shortest triangle, the structures progressively increase in height, leading up to the innermost peak. This architectural metaphor symbolises the nation’s ascent despite formidable challenges. The monument is made of concrete, in contrast with the rest of the structures and pavements, which are made of red bricks. Its design offers a multifaceted viewing experience, presenting a symmetrical pyramid-like formation when observed from afar. However, closer inspection reveals a dynamic interplay of angles and perspectives, inviting visitors to explore its intricate details firsthand. Notably, the surface of the structure is intentionally uneven, mirroring the tumultuous journey towards freedom and independence. This tactile representation serves as a poignant reminder of the sacrifices made and the resilience required to overcome adversity. The whole campus is adorned with trees, walkways, an artificial lake, and a cafeteria. Interplay of numbers: Numerology serves as a hidden vital factor behind the intricate design of the National Monument, reminiscent of ancient architectural wonders like the Athenian Parthenon, where numbers were revered as the essence of aesthetic perfection and cosmic harmony. At the heart of this establishment lies the mystical number 7, symbolising the seven pivotal movements that shaped Bangladesh’s path to independence between 1952 and 1971. The first of these 7 historical contexts is the language movement of 1952. This was followed by the United Front elections of 1954, the Constitution Movement of 1956, the Education Movement of 1962, the Six-Point Movement of 1966, the People’s Uprising of 1969, and then the final victory through the Great Liberation War of 1971. However, these 7 pillars or the number 7 also have different implications if we look at them from different facets. For example, among others, the Language Movement in 1952 contains 5+2=7; December 16, the day of independence in 1971, has 1+6=7; and there were 7 Birsreshto (war heroes) who sacrificed their lives for the cause of liberation. Written Kaniz F. Supriya
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A Historical Breakthrough in Ceramic Industry!
China’s ceramic industry has achieved a historic milestone in the goal of carbon neutrality. After nearly one year’s hard research work, the world’s first piece of ceramic tile fired with zero-carbon fuel was successfully produced in Oceano Test Center, giving a great technological support to the building ceramic industry in realising the target of Carbon Peak and Carbon Neutral. It was announced at a press conference in Foshan Xianhu Lab on December 23, 2022, the world’s first piece of ceramic tile f ired with zero-carbon pure ammonia fuel has successfully exited the Ammonia-fueled Roller Kiln at Oceano Test Center. The Associated R&D Center on Advanced Zero-carbon Combustion Technology was jointly established by Foshan Xianhu Lab, Oceano Ceramics and DLT Technology on December 27, 2021. HLT & DLT are the world’s leading suppliers of complete plant equipment for the ceramic sector. To provide turnkey project solutions to the global ceramic industry, Foshan HLT DLT Technology has been the first tunnel kiln that integrated green, low-carbon, and intelligent automation for the Chinese ceramic machinery industry to enter. Headed by Academician Mr. Cheng Yibing, a strategic scientist working at Foshan Xianhu Lab, as Chief Director of the center, the lab was aiming at the key technology of zero-carbon combustion in ceramic kilns to explore new solutions for Chinese ceramic industry. By giving full play to the advantages of the three parties in terms of production, developing and research, the center has developed the “ammonia-hydrogen fusion zero-carbon combustion technology” as well as key systems and solutions for the industrialisation. The center has developed a new series of pure ammonia type and natural gas – ammonia mixture type industrial burners with related auxiliary technologies, having realised stable ignitions in DLT industrial experiment kiln fueled with mixed ammonia and pure ammonia, showing good control of nitrogen oxides emission in compliance with the national standards. This achievement has confirmed for the first time the practical feasibility for the ceramic industry to achieve carbon peak and carbon neutral technology’s industrialisation in the future, marking an important milestone for the industry. The f iring of ceramics with zero-carbon fuel is a disruptive technical innovation, having filled up blanks of both domestic and international, showing a new energy technological path for the ceramic industry as well as for the whole of building material industry to achieve carbon peak and carbon neutral goal with great practical significance. While developing the zero-carbon combustion technology, the team also established a set of safety system and emergency management measures suitable for ammonia-fueled ceramic kilns, including operating procedures, ammonia storage, transportation and other important aspects. Based on this, the team successfully completed the update of Oceano’s ceramic roller kiln by converting the kiln from natural gas fueled mode into pure ammonia and natural gas – ammonia mixture fueled mode. Moreover, it has also developed a precision control system for liquid ammonia evaporation and supply, which is monitoring system for residual ammonia in the fume, and has jointly developed a complete set of high-efficiency liquid ammonia SCR de-nitrification system as well as other technologies and equipment. suitable for the pure ammonia combustion, an online On December 18, 2022, the kiln fueled with 100% ammonia (NH3) successfully produced glazed and unglazed tiles with continuous tile feeding and production. Tested by Oceano Research & Development Center, the quality of finished tiles is above the national standard. According to the on-site test by a third-party environmental assessment agency, the exhausted fume emission of the kiln complies to the national standard. As the first thermal equipment manufacturer to participate in the research and development of Ammonia-Hydrogen Zero-Carbon Combustion Advanced Technology, DLT has been focusing on the energy saving and emission reduction of kilns and dryers for the ceramic industry, and has been contributing greatly to the industry’s carbon consumption reduction in order to undertake its social responsibility. In future, the Associated R&D Center on Advanced Zero-carbon Combustion Technology will be further utilised in the application of mass production in the industry on the basis of the results from this pilot production, and will keep breaking through and optimising the new technology adapting with mass production, as a contribution to the ceramic industry as well as the building material industry to achieve the goal of carbon peak and carbon neutral, in order to create a disruptive technological path leading from “0” into “1” as being the first time in the world. Project Initiation: Ammonia-Hydrogen Zero-Carbon Combustion Tech When the zero carbon combustion chemical equation appeared on the screen of the launch ceremony, it marked a significant breakthrough in carbon neutrality technology. On December 28, the “Advanced Ammonia-Hydrogen Zero-Carbon Combustion Technology Demonstration Project for Ceramic Slab and Tile Mass Production Line” (“Ammonia Hydrogen Zero Carbon Combustion Project”) was officially launched at the headquarters of Monalisa Group. This is a new path explored by Monalisa in collaboration with Foshan Xianhu Laboratory, DLT, Oceano, Guangdong Anqing Technology and other companies to build ceramic zero carbon manufacturing and green development, which marks a major step forward for the industrial application of carbon-neutral technology in China’s ceramics industry, and is of great significance for accelerating the green and low-carbon transformation and development of the industry. Ammonia-hydrogen Zero-Carbon combustion technology to explore the optimal solution for the path of carbon neutrality and emission peak. With the current carbon neutrality and emission peak strategy, hydrogen energy and ammonia energy, as renewable green energy sources with high energy density, good storage and transportation convenience, clean and efficient energy, have gradually become an important part of the future energy system and are energy terminals. At present, the ammonia-hydrogen zero-carbon combustion technology has successfully completed technical tests and demonstration production in the Oceano’s experimental kiln. In order to promote the industrial application of ammonia hydrogen zero carbon combustion technology, Monalisa has joined the industrialisation research project of this technology and launched the demonstration project. Based on the developed advanced ammonia hydrogen zero carbon combustion pilot test and pollutant emission detection and control pilot test, the advanced ammonia hydrogen zero carbon
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Kamalapur Railway Station: A Gateway to Journeys in Bangladesh
Kamalapur Railway Station, officially known as Dhaka Central Railway Station, stands as a bustling gateway to the vibrant capital city of Dhaka. Nestled in the heart of the city, this vital transportation hub connects travellers to all major cities in Bangladesh. As the largest and busiest railway station in the country, Kamalapur serves as a crucial link, facilitating journeys both near and far. Its rich history, architectural significance, and constant activity make it an iconic landmark. With a unique design and historical roots, Kamalapur Railway Station weaves together the fabric of Bangladesh’s rail network. The station’s significance has increased following the opening of the Padma Bridge. Kamalapur Railway Station (KRS), steeped in history, stands as Dhaka’s historic gateway. Its iron-clad colonial-era architecture evokes memories of a bygone era, a bridge between past and present. But Kamalapur is more than just a transit point; it embodies the spirit of a nation on the move—a pulsating heartbeat that reverberates across Bangladesh. Kamalapur Railway Station stands as a vital link in Bangladesh’s transportation network, connecting people, cultures, and commerce. As trains arrive and depart, the passengers weave intricate stories etched into the very walls of this magnificent station. Here, hope mingles with anticipation, dreams find their rhythm, and reunions unfold. The station’s bustling platforms witness resilience—the quiet strength of travellers forging ahead despite life’s twists and turns. And within its echoing halls, new beginnings take root, fueled by the promise of distant horizons. Kamalapur Railway Station, standing tall against the passage of time, is a living testament to Bangladesh’s architectural ingenuity. It’s not merely a physical structure; it’s a gateway to aspirations, connections, and the beating heart of a nation. As passengers step onto its platforms, they become part of a grand narrative—a journey that transcends mere destinations and becomes an enduring legacy of rail travel in Bangladesh. Architectural Marvel Kamalapur Railway Station stands as a captivating blend of modernity and tradition. More than a mere transportation hub, it represents an architectural marvel that seamlessly connects the past with the present. Designed by the renowned American architects Daniel Dunham and Robert Boughey (Bob Buie) of Louis Berger and Consulting Engineers Ltd. in the 1960s, Kamalapur Railway Station serves as a symbolic gateway to Dhaka. Daniel Dunham, a young architect fresh from completing his studies at Harvard’s Graduate School of Design (GSD), took charge of Berger’s fledgling Dhaka office. His task was to tackle an extensive backlog of new projects. The station’s architecture draws inspiration from both modernist principles and traditional neo-Islamic influences, as well as Bengali styles. It stands as a testament to Dhaka’s modern architectural spirit. Architect Daniel Dunham skillfully blended modernist elements with traditional Bangladeshi architecture. The station’s most striking feature is its parabolic shell roof—a true engineering masterpiece. Stretching over the platforms, this roof provides shelter to passengers. The lattice-like concrete structure fosters openness and allows natural light to filter through, creating a welcoming ambiance. Kamalapur Railway Station officially opened on May 1, 1968, during President Ayub Khan’s tenure. Its construction cost at the time was Taka 5 crores 30 lakh. When the value of one vori of gold stood at only 100 takas, A year after its inauguration, the Provincial Office of the Railway Postal Service found its new home within this remarkable station building. Design Features The station building is well-suited for tropical climates, providing protection from rainwater like an umbrella. It incorporates various functional spaces, including ticket booths, administrative offices, passenger lounges, waiting areas, and restrooms, all under an integrated canopy-based roof. The structure comprises 36 square domes supported by a total of 49 columns. Above these columns stands a roof featuring 36 slender concrete umbrella-type domes. Each column extends 59 feet high, branching out to support the roof. The open-air design capitalises on Dhaka’s cross breezes while safeguarding interior spaces from monsoon rains. The Kamlapur Railway Station’s thin concrete shell dome-umbrella design, completed by the consultants, has become a local icon, cherished by prominent architects as a cultural heritage piece. The parasol roof continues to define the station’s unique skyline. Architect Dunham immersed himself in Bangladeshi culture, learning Bengali and adapting to local craftsmanship and construction practices. Instead of designing an enclosed monolithic structure with mechanical heating and cooling systems, Dunham leveraged Dhaka’s tropical climate. His innovative roof system provides shade over the station’s offices and facilities, supported by a versatile field of columns. The construction technique involves thin concrete shells, which Dunham explored during his thesis at the GSD. After Dunham’s departure, architect Robert Boughey took over the post, designing tessellating concrete shells for the roof, reminiscent of pointed arches seen in Islamic architecture. These shells were cast on-site using reusable materials. Kamalapur Railway Station, with its remarkable parabolic shell roof, stands as an engineering marvel. This expansive structure spans the platforms, providing shelter to passengers. The station’s circular layout, boasting a diameter of 186 metres, centres around a soaring dome that reaches a height of 26 meters. Eight radial wings extend from the central hub, housing platforms, and tracks. The station’s architecture seamlessly blends modernist elements with traditional Bangladeshi motifs, reflecting the nation’s spirit. The concrete lattice structure allows natural light to filter through, creating an airy and open ambiance. High ceilings and spacious interiors enhance the feeling of grandeur. Kamalapur’s design prioritises functionality while maintaining aesthetic appeal. Geometric patterns, arches, and intricate details evoke the essence of Bengali culture. As a testament to Bangladesh’s identity and heritage, Kamalapur Railway Station stands proudly. The station is an engineering marvel that spans the platforms, providing shelter to passengers. Additionally, in other parts of the country, the Sylhet Railway Station in the north-eastern region and the Chilahati International Rail Station in the north-western part also feature a similar umbrella-like structure. These stations use national flower-shaped “shapla” shells supported by a forest of columns to cover their facilities. Historical Context Bangladesh Railway has been operating in the British period since 1862 in the eastern and western parts of the country, divided by the great river
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Kamalapur Railway Station: A Gateway to Journeys in Bangladesh
Kamalapur Railway Station, officially known as Dhaka Central Railway Station, stands as a bustling gateway to the vibrant capital city of Dhaka. Nestled in the heart of the city, this vital transportation hub connects travellers to all major cities in Bangladesh. As the largest and busiest railway station in the country, Kamalapur serves as a crucial link, facilitating journeys both near and far.
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Democratising architecture: Design that inspires awe and closeness to home
It was as though the beauty, heritage, and history of Mymensingh were plotting the becoming of Architect Masudur Rahman Khan – his birth city. Growing up in vast and glorious Mymensingh, which runs along Old Brahmaputra’s shores and birthed the Nakshi Kantha, Maimansingha Gitika and Shilpacharya Zainul Abedin, the BUET-alum Architect fashions his edifices from the collective memories of his childhood.
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Crafting Timeless Excellence
BHL CERAMICS, the flagship brand owned by BHL GROUP Pvt. Ltd., has evolved over three decades as a dynamic business house and consumer products manufacturer. Since its inception in 2017, BHL Ceramic Co. Ltd. has become one of Bangladesh’s largest ceramic tile manufacturers, symbolizing artistry and creativity. The company’s mission is to reduce reliance on imported foreign tiles and boost domestic production, creating employment opportunities.
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National Budget Thru Turbulent Waters Ceramic Industry Ignored in Budget
The recently unveiled Tk 7.97 trillion national budget for the 2024-25 fiscal year for Bangladesh aims to bringing a balance between controlling inflation and attaining economic growth. Economists, however, caution that higher borrowing and increased taxes on certain goods may prolong inflationary pressures. The budget’s reliance on domestic borrowing could lead to a “crowding-out effect,” restricting financing for businesses, particularly SMEs. Despite a target of 6.75 per cent GDP growth and plans to reduce inflation to 6.5 per cent, achieving these goals is deemed challenging. The budget proposes revenue of Tk 5.45 trillion with NBR tax amounting to Tk 4.80 trillion, leaving a Tk 2.56 trillion deficit to be primarily financed through bank borrowing, which may prompt money printing by the central bank and further inflation. Economists welcome the conservative approach but criticise the plan to increase electricity prices, potentially exacerbating inflation. The budget also includes initiatives for digital transformation and job creation in the IT sector, aiming to attract foreign investment. However, with foreign funding dwindling and significant tax increases on various goods, the effectiveness of these measures in achieving the stated economic targets remains uncertain. Bangladesh’s economic landscape is currently beset by numerous challenges, including stagnant investment, mounting debt repayment obligations, sluggish external sector growth, dwindling foreign exchange reserves, a fragile financial sector, tepid economic expansion, unemployment woes, and widening inequality, apart from soaring inflation. The proposed budget must confront immediate hurdles head-on through targeted budget allocations and fiscal policies. Although the budget is crafted for a single fiscal cycle, it serves as the conduit for translating the government’s economic strategies and political vision into reality. Hence, the proposed budget assumes paramount importance in tackling pressing issues such as safeguarding the interests of the impoverished, low-income, and lower-middle-income households, as well as addressing short to medium-term challenges such as fostering robust economic growth and curbing inequality. Given the prevailing economic exigencies, the FY2024-25 budget must pivot on four critical areas. Dr. Muhammad Abdul Mazid, a former chairman of the NBR, emphasised that this year’s budget cannot be compared to those announced in the past 8-10 years due to the turbulent global economy and several macroeconomic challenges facing Bangladesh. These challenges include a reserve crisis, dollar devaluation against the Bangladeshi Taka, higher inflation rates, and various governance issues. He asserted that overcoming the hurdles facing Bangladesh’s economy in the national budget will be difficult all of a sudden and in a shorter period. Instead, the government should focus on shaping a roadmap to navigate these crises. Dr. Mazid recommended that the budget should not follow the typical patterns of previous fiscal years; rather, it should include reforms in fiscal and monetary policy to address inflation, the dollar crisis, and reserve issues. Additionally, he suggested the formation of a banking commission to address loopholes in the banking sector. To curb inflation, the National Board of Revenue (NBR) could reduce duties on certain products, but effective market monitoring and management are essential to realise the benefits of such duty reductions. Strengthening the NBR’s capacity is crucial for enhanced revenue realisation. Moreover, Dr. Mazid stressed the importance of allowing concerned government organisations, such as the Anti-Corruption Commission (ACC), to operate independently to ensure effective governance. Ceramic Industry Overlooked The ceramic industry, part of the private manufacturing sector, has been significantly overlooked in the proposed national budget. Leaders of Bangladesh’s ceramic sector are urging for the removal of the 15 per cent supplementary duty on local tiles and the 10 per cent duty on domestic sanitary products. They point to rising raw material and gas prices, which have increased production costs. By eliminating these duties, they believe consumer prices would decrease. Md Shirajul Islam Mollah, a Member of Parliament and President of the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA), had previously proposed removing additional duties on raw material imports and increasing tariffs on foreign ceramic products to the National Board of Revenue (NBR) before the 2024-25 fiscal year’s budget announcement. These measures would reduce imports, save foreign exchange, and boost employment in the country. Despite the relevance of these proposals, none were addressed in the budget. The domestic ceramic market, valued at Tk 8,500 crore. Although domestic companies control over 80 per cent of the market, they face tough competition from imports due to high production costs. On one hand, due to the dollar crisis, L/Cs (letters of credit) are not being opened for importing sufficient raw materials and machinery. Additionally, despite high prices, necessary gas for producing finished goods is not being supplied. On the other hand, amidst dollar crisis, the Bangladesh Bank has announced a second term reduction in cash incentives for ceramic exports—from 10% to 6%—within a span of six months. Meanwhile, the cost of doing business continuously increases. Over the past year and a half, Bangladesh has received loans from the IMF in three installments, but despite implementing several conditions attached to the loan, there has been no such improvement; rather than deterioration. Addressing Fiscal Challenges Economists believe, in the face of daunting economic hurdles, Bangladesh must embark on a prudent fiscal course to steer through turbulent waters. With inflationary pressures mounting and investment stagnating, the budget for the 2024-25 fiscal year demands meticulous attention to fiscal prudence. The government’s traditional reliance on banking sector borrowings to bridge budget deficits exacerbates interest payment burdens amidst constrained fiscal space. Hence, a judicious fiscal consolidation strategy, entailing restrained spending and bolstered tax collection efforts, emerges as imperative. Empowering the Social Sector While substantial investments have buoyed physical infrastructure, the social sector languishes due to chronic underfunding. Education and healthcare sectors, in particular, warrant heightened attention, with allocations in FY2024 falling woefully short of requirements. Fostering human capital development through increased expenditure on education, healthcare, and skills development is indispensable for sustainable growth and inclusivity. Facilitating Small Business Growth Small businesses, the lifeblood of the economy, must be empowered through facilitated access to finance. The banking sector’s burgeoning non-performing loans pose a formidable barrier to lending, stifling entrepreneurial endeavours. Elevating
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A Guide before choosing your Sanitaryware
A home needs innovative ceramic ware and everybody looks for a touch of elegance, style, and personalisation. While the design of the ceramic ware is a personal choice within whatever fits the budget, ignored, sometimes, are the sanitary ware used. However, a lot has changed over the past few decades, as the market grows – People care not only for a well-designed bedroom, but also their bathroom.
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Ayesha Sanaa Asif Tabani Steps up with Sophistication Upholding Legacy of Founding Fathers of the Pioneering Ceramics Company
As the Director of Mirpur and Khadim Ceramics, Ayesha Sanaa Asif Tabani has already been an influential figure in the ceramic industry, championing the integration of modern and innovative ceramic technologies. After completing her graduation and Master’s at Queen Mary University of London, she returned home to join the family business.
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Revolutionising Ceramics with Kingtau Low Maintenance Ceramic Printing Machine
As cutting-edge technology enters into the ceramics industry, tile manufacturing processes are undergoing significant transformation. Only a few years ago, the idea of machinery capable of producing effects such as sugar textures, embossing, matte finishes, and mirror-like polish seemed unimaginable.
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Journey of the CEO of Fu-Wang Ceramic Teamwork Makes a Company Successful
A world where the demand for ceramic products is steadily on the rise, it takes innovation, commitment, and most importantly, a dedicated team to navigate the challenges and lead a company to success. Rafiquzzaman Bhuiyan, the Chief Executive Officer (CEO) of Fu-Wang Ceramic Industry Limited (FWCIL), has not only recognised this but also executed a vision that has propelled the company to new heights.
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An ode to a bold architectural narrative The New Travel East Restaurant
At the heart of any remarkable restaurant lies its design—a subjective blend of form and function. The design itself becomes a storyteller, weaving narratives of contemporary tradition. The walls, the textures, the colours—they all tell a story.
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Ceramic Expo Bangladesh-2022 Contribution of Foreign Co-Sponsors
Ceramic Expo 2022 was a remarkable event for the ceramic industry to explore new business opportunities for exhibitors and visitors. It was a 3-day-long event with more than 25,000 visitors and an excellent arrangement by the organiser, Bangladesh Ceramic Manufacturers and Exporters’ Association (BCMEA).
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BHAWAL RESORT: A Tranquil Heaven Outside Urban Chaos
Nestled amidst the lush rainforest, the Bhawal Resort of Bangladesh emerges as a green heaven where luxury meets tranquility, offering an escape to the serene beauty of nature. In the Bhawal Resort and Spa, one can discover the idyllic bliss that defines the new dimensions of luxury in the setting of nature. Surrounded by the exotic natural rainforest, the resort is the perfect place to rejuvenate the body, mind, and soul. Here the luxury intertwines the serenity of nature for an immersive back-to-nature experience.
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Rise of a Nation through Raghu Rai’s lens
On the occasion of the 75th anniversary of the Faculty of Fine Arts, University of Dhaka, the exhibition “Rise of a Nation” took center stage at the Zainul Gallery.
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Akij Ceramics Expands Retail Footprint with New Showrooms in Cumilla and Feni
Akij Ceramics, the leading brand in the ceramic tiles industry in Bangladesh, has recently opened two exclusive showrooms — one in Cumilla and the other in Feni. As a five-time recipient of the Best Brand Award and the Super Brand Award, Akij Ceramics consistently sets the standard for quality and innovation in the country. Its unwavering commitment to the “Promise of Perfection” resonates with clients across Bangladesh.
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Exploring Innovations at the BIID Expo
The Bangladesh Infrastructure Innovation and Development (BIID) Exhibition, held from May 9th to 11th, 2024 in Dhaka, gained significant momentum. Organized by ExpoNet Exhibition Pvt. Ltd at the Bangabandhu International Conference Center (BICC), this three-day event brought together industry owners, professionals, and stakeholders from various sectors.
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The Ornaments of The Ceramic Expo 2022
The Ceramic Expo Bangladesh-2022 was an event that brought in some 25,000 visitors and the ceramic verse under one roof. Customers and brands were connected throughout all day during the three-day-long expo, and at the end, the organising authority, Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA), was overwhelmed by the tremendous response it received from the industry and the community. It was the third expo which was initiated with sponsorship support from renowned national and international brands. Locally, BCMEA was blessed with three co-sponsors for the Ceramic Expo Bangladesh 2022 – Mir Ceramic, BHL Group, and Stella Luxury Sanitaryware. Dressed in their brand colours, the sponsors decorated their pavilions with the best from their catalog, hoping to gather leads, showcase exclusives, and connect one business to another and directly with customers. BHL Ceramic Company Ltd. introduced PERLA Sanitary ware at the Ceramic Expo Bangladesh-2022 BHL Group, a conglomerate with its flagship concern BHL Ceramic Company Ltd., having four ceramic brands under its housing, was a co-sponsor of the Ceramic Expo 2022. During the event, they showcased products from four of their brands, and the front-runner was the newly introduced Sanitaryware brand, Perla Sanitaryware. The conglomerate manufactures for BHL Ceramic, KONGFU Ceramic, VINCI Ceramic, and PERLA Sanitaryware, all of which were featured at the event. With a production capacity of 33,000 sq.m/a day, expected to become 40,000-sq.m/a day manufacturer soon, the emerging brands from BHL Group have stepped into the world of ceramics, and they hope to see the subsidiaries flourish. Entering into BHL Ceramic Company Ltd. Pavilion at the expo, visitors saw the ambiance being set by a cadet grey overall backdrop. They saw their subtle blue logo above one entrance, elegantly carrying the name of the parent company. Under it reads “Driven with Integrity”. The basins from their newly introduced Perla Sanitaryware, along with commodes, and their tiles of varied sizes, were placed on walls and floor, as well as persuasively displayed to show how it would be when fitted. The front runner/star of the pavilion, the products from Perla Sanitaryware, shined throughout the event and had uniqueness in design and shape. The products from this segment are innovative, eco-friendly, extremely hygienic, and saves water. Furthermore, the company showcased its best sellers, and among its different products, there were 60×60mm High Glossy Tiles that had a shine like no other. The BHL Company Ltd. Pavilion received a special mention for one of the best pavilions decided by the jury during the awarding ceremony of the 2022 Ceramic Expo. The event went by smoothly as visitors poured in. The director of BHL Group, Mr. Sifat Arman, along with the Managing Director Mr. Shahedul Islam, graced the event with their presence. The pavilion brought in approximately 9,000-10,000 visitors in all three days providing representatives with countless leads that were later converted. Mir Ceramicof the reputable Mir Group showcased some of the bests A subsidiary of the esteemed Mir Group, Mir Ceramic is one of the largest tile manufacturers in the country, and has embarked on a mission to introduce the strongest and longest lasting tiles in the market since 2001. The company was a Co-sponsor for 2022 Expo, and decorated their pavilion with outstanding products from their catalogue. Mir Ceramic has a pool of talent with years of experience behind the manufacturing process. And with that and more, consumers have seen them turn to a ceramic leader over the past two decades. The company uses SACMI technology in its Mawna factory and sources raw materials from across the world, fine picking for every aspect of the products it manufactures. At the Ceramic Expo 2022, Mir Ceramic had a pavilion dressed in green and white. A “20 years” ceiling-high structure commemorating Mir Ceramics’ 20 years of business and achievements stood proudly at an entrance. The first few products to attract the attention were floral and checkered designs on the walls. Among the products displayed, were the SERENA, portraying dark shades of grey in matte, and DORA with its floral design, both 30×60cm in dimensions. The pavilion showcased two sizes, a rectangular shape with size 60×120cm and a square 80×80cm size, of the product REVENA which was the front runner at the pavilion alongside ALMINA. The products were beautifully showcased for the eyes of the visitors, which constituted of not only enthusiasts, but also designers, architects, and officials from real-estate companies. The Mir Ceramic pavilion won Silver for Best Pavilion of the Year and Bronze for the Most Interactive Pavilion by people’s choice during the award-giving ceremony. Thousands of visitors came in during the event, and conversations were struck. The event proceeded towards an end, and countless leads gathered. From Mir Ceramic, Mr. Anwar Hosen (Asst. Manager, Sales and Marketing), Mr. Nirmal Shah (Deputy Manager, Sales and Marketing), Mr. Mizanur Rahman (Asst. Manager, Sales and Marketing), Mr. Faisal Mahmud (Executive, Sales and Marketing), Mr. Shamshuddin Ali Ahsan (Business Development Manager), Kazi Md Abdullah Faruq (GM Sales and Marketing) and Abdulla Al Zaman (Deputy Manager, Brand) graced the event with their presence. Co-Sponsor Stella Luxury Sanitaryware introduced Italian inspired designs and more Stella Luxury Sanitaryware is a renowned brand and a trusted manufacturer of traditional and modern-day-minimalistic ceramic sanitary ware. The company ventured into the ceramic market in 2011, and ever since, has been introducing world-class products at affordable prices. The factory of the company is located in Kaligonj, Gazipur, and in partnership with SACMI, uses European technology to make their products, offering features such as water-saving, anti-scratch, soft-closing seat covers, dual flush technology, and 44 per cent stronger than local standards. The 2022 Ceramic Expo saw Stella Luxury Sanitary Ware highlight the products from the premium segment out of the catalog in their pavilion. We saw different shapes and sizes, from rectangular to oval counter basins, wash basins, high commodes, and a range of products in five light colours and two premium colours. Stella stands out when it comes to resourcefulness, as they always have replacement parts available. The market is saturated
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2nd Issue all article is Coming Soon
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Domestic Entrepreneurs Stare at a Bright Future of Electric Cable Industry
Even though the electric cable industry in Bangladesh has a long history, the sector has grown vastly in the past several years, thanks to extension of power gridlines, growing urbanisation, and industrialisation. Home-grown companies are now playing a significant role in meeting local demand for the electric cables at both households and industrial units in the country. The BBS Cables Limited, a sister concern of Bangladesh Building Systems Ltd. (BBSL), is one of the home-grown cables companies has been contributing to the industry for more than one decade. Innovation for Sustainability The BBS Cables Limited was established in 2009, though the Cable Industry started its journey before Bangladesh came into being in 1971. BBS Cables Ltd. has been an integral part of Bangladesh’s development journey for the past 14 years. The Company understands that shared value creation is essential to a brighter future. “We prioritize sustainability in all our endeavours and believe our efforts must help society as the nation’s sustainable development partner,” Head of Brand of the BBS Cables Md. Rabiul Kamal told the Ceramic Bangladesh. There is a market of around Tk 12,000 crore in the country. The sector is growing around 15 per cent over the past 10 years. Around 50,000 people of total of 120 branded and non-branded companies have been contributing to the sector. Of this, 2500 employees of the BBS cables are directly engaged in the industry. Rabiul Kamal said their company produces various types of products such as Copper Cables, Silicon Cables, Power Cables, Railway Signaling Cables, Jelly-filled Cables, FRLS Cables, Submersible Cables, Flexible Cables, Tele-communication Cables, Aluminum Cables, Optical Fiber Cables, HR-FRLS Cables, Rubber Cables, Welding Cables, Automobiles Cables, Coaxial Cables, Fire Resistance Cables, and FR Skin Coated Cables. Both BBS Cables products enjoy a high degree of acceptance among customers for the high quality of the products and excellent delivery services. The products are distributed through an elaborate chain of BBS Cables Dealers in divisional towns, village and cities of the country. “To grow the cable industry, we need government tax facilities and infrastructural development. The government should reduce the tax on importing raw material and should to be imposed higher tax on foreign cable,” he added. “We are one of the best in cable industries. BBS Cables is a top-tier manufacturer of cables with a reputation for producing high-quality products that meet the needs of a broad range of industries. However, we re-dedicated ourselves to steering our Company’s efforts toward the national goals for the 2030 SDGs (Sustainable Development Goals) journey and then to the magnificent Vision 2041 for building a smart and developed society with a brighter future for all,” he explained. Mr Kamal said the BBS Cables strives to create a sustainable business promoting diversity and inclusion, fostering collaboration, and providing equal opportunities for all. Their Corporate Social Responsibility initiatives have made a meaningful difference to millions of lives through skills development, education support, women empowerment, portable drinking water, and healthcare initiatives. Together, anchored in trust, integrity, and accountability, they are cementing a brighter future where opportunities are abound, communities f lourish and individuals reach their full potential. They try to optimise the use of natural resources, prevent pollution, injury and ill-health in all activities. Safety, Quality and Environmental Policy With the rapid urbanisation from corner to corner worldwide, the necessity of transmitting power assumes significant for sustainable industrial growth. So, the company’s objective is to manufacture electrical Cables, Wires and Conductors of the highest quality and provide unparalleled Customer Service to contribute to national economic growth. They strongly believe that the relentless effort to quality and continuous improvement is the key to long term success. BBS Cables Ltd is equipped with state-of-the-art technology machineries to manufacture and test all types of quality Cables, Wires and Conductors in conformity with the latest version of National and International Standards e.g. International Electro-technical Commission (IEC), German Standard (VDE), British Standard (BS), Bangladesh Standard (BDS), Australian Standard (AS), Indian Standard (IS) and also meet the specific requirements of the customer. They believe in a world that is safe and sound for people and also for A building generally is sustained 100 years. Quality cables also sustain 80-100 years and BBS cables meet the time period, Mr Kamal said. “Now, we produce underground cables with highly protected steel wire armored cable in Bangladesh. To build Smart Bangladesh, more internet services are needed across the country. In Bangladesh market needs modern, speed, safe and sustainable cables. In this context, BBS Cables uses the latest European modern technology for produce internet cables like CAT6e cables for internet service.” The government has decided to transmit electricity through underground instead of overhead conductors. As a result, underground cable replacement has already started by removing the overhead conductors. This has increased the demand for medium voltage cables for electricity transmission in Bangladesh and a new awakening has started in this industry. At present its market is about one thousand crore taka yearly. BBS Cables is conforming to agreed standards to meet customer requirements and continually improve quality, health, and safety and environmental performance. BBS improving product quality and reduce waste to enhance customer satisfaction and business profitability by optimising the use of natural resources, prevention of pollution and of injury. Because high quality cables reduces power wastages. They comply with applicable Health, Safety and Environmental legislation and other requirements, as well as creates a work environment for employees which promotes team work and problem solving in order to improve QHS&E performance. Engineering Excellence BBS Cables Ltd. has successfully established it strength as the “Trusted Brand” in Cables sector of the country. The company has achieved the “Asia’s Greatest Brand Award-2018”. During this period, the Company prepared FR Skin Coated Cables which is known as fire resistance cables for ensuring safety. Unlimited Export Potential The demand for electrical products is not only increasing in the local market but also globally. Electrical items production rate increased by 22 per cent in Europe, 21 per cent in North
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Innovative Architectural Views Attract More Visitors at DITF-2024
Like previous years, the Commerce Ministry and Export Promotion Bureau (EPB) organised month-long 28th Dhaka International Trade Fair (DITF) at the Bangabandhu Bangladesh-China Friendship Exhibition Centre (BBCFEC) in Purbachal that ended on 20 February, 2024. With a view to attracting local and foreign visitors, the exhibitors brought innovative architectural view at their pavilions and stalls made of various materials such as steel, board, wood, bamboo, electric cables, lights, colour and ceramic items. Premium pavilions, premium mini pavilions, reserved pavilions for women, foreign pavilions, general pavilions and food stalls were set up at the fair venue. A good number of architects and carpenters as well as workers used to work hard to set up the pavilion and stalls to attract visitors and make the fair a success. The minimum rent for the Premier Pavilion floor was around Tk 22 lakh, the stall rent Tk 4 lakh for general stalls and Tk 4.5 lakh for reserved stalls. And, the minimum rent for the reserved mini pavilion was Tk 11 lakh. However, more than 304 companies showcased their products at this edition of the fair, with nine enterprises from five countries—India, Hong Kong, Türkey, Indonesia, and Singapore. The exhibitors displayed local and foreign products, including electronics, apparel, jute and leather goods, furniture, plastic products, handicrafts and various food items in the stalls. Many traders offered discounts ranging from 5 to 30 per cent as well. 41 organizations received awards At the closing ceremony of the fair, the authority gave the awards for best pavilions among the participants at the fair like previous years. A total of 41 stalls and pavilions were awarded the best participants in various categories. This year, 14 best pavilions and stalls in various categories got the first prize of Gold Colour Trophy, 15 pavilions and stalls of different categories got the second prize Silver Colour Trophy, and 12 pavilions and stalls of different categories got third prize Bronze Colour Trophy. They were awarded for winning the appreciation of customers through service and making a significant contribution to the overall success of the fair. Among the awardees are Walton Hi-Tech Industries, Group, Jute PRAN-RFL Diversification Promotion Centre (JDPC), Diamond World, KY Two Tone, Olympic Industries, Directorate of Prisons, Dutch-Bangla Bank, Jayita Foundation, Clay Image, MR Technology, Bangladesh Tea Board, HATIL, Navana Furniture and Pentel (Singapore). Like other companies, Walton Hi-Tech Industries PLC received “Gold colour Trophy” as the first prize of the best stall in the electronics product category at the DITF. Talking to the Ceramic Bangladesh, Walton coordinator at DITF-2024 Tarikul Islam said, they set up their pavilion by their own architect, used most of their own electronics materials like lights and cables except boards and steel. And they built a pavilion with three general stalls and one premium stall at Hall-‘A’ of the DITF. It covered 20 feet by 80 feet space there. “Before building a pavilion, we thought how much innovation could be brought to the pavilion as per our management direction. And, we created a theme related to our products. We followed international standard. We just displayed our products to inform customers about the products not to sell in the fair,” he also said. In-charge of the architecture designing section of the company Md Monir Hossain Khan said, “We have to think about many issues like cost, colour, height, space, and reuse of the materials. The Bangabandhu Tunnel was our focal point this year. At first, we make a design by computer on our theme. And, we set a focal point so that visitors are attracted to see our pavilion.” The head of architect of Walton also informed that they need 3-4 days to set up a pavilion in any exhibition. “Some 70-72 Walton staffers including designers, electricians, and carpenters worked to construct the pavilion at DITF-2024. Our total budget was TK 18 lakh to construct this year’s pavilion. We will reuse 70% materials used to set up it. So, we try to use maximum used materials,” he also said. The largest pavilion at this trade fair was PRAN-RFL Group. The three-storied pavilion had a huge collection of the country’s best household products. Export orders worth Tk 392 crore with cash sales of Tk 400 crore State Minister for Commerce Mr. Ahsanul Islam said that the Dhaka International Trade Fair will be diversified from next year to increase the country’s exports. He said, seminar, symposium will be organized in the next fair to increase the interest of foreign buyers. The Vice Chairman of EPB and Chief Executive Officer AHM Ahsan said they received good response from visitors in the fair. “Our export order increased 15 per cent this year compared to the previous year. We received export orders worth USD 3.56 million, which is equivalent to about Tk 392 crore, with cash sales of around Tk 400 crore.” However, they plan to arrange a 3-5 days ‘sourcing fair’ at the Purbachal venue for foreigners to attract them to the expo from next year. Because foreign companies do not want to participate in a month-long fair. He explained that they have a committee to select the best pavilions for the award. They scrutinise various issues to select them. Basically they asked exhibitors to fill-in a form about export orders. Later, EPB announced final amount after collecting all data. The DITF usually started on the first day of the New Year, but this year the fair was deferred it to the third week of January due to the 12th parliament elections.
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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 Tngi, 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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A Bridge to Prosperity – 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 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 the inaugural murals 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 tbreaking 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 separate teams of 50 people, working 24 hours a day, after last Eid-ul-Fitr. No bigger mural has been made in Bangladesh so far. Artist Ashraful Alam Riaz, Managing
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Ceramic Expo Bangladesh 2022
Bangladesh is the new booming market in the world of ceramics. The industry has shown remarkable growth potential with increasing demand and maximum supply level from all of the sub-sectors such as tableware, sanitaryware, and tiles. In order to encourage development and growth of such a promising sector, the 3rd edition of International Ceramic Expo Bangladesh 2022 was held at ICCB, Dhaka from November 24-26. The event is recognised as one of the most prestigious and exciting business expositions of the global ceramic market.
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CERAMICS CHINA 2023 dated on June 19-22
From June 19 to 22, the 37th edition of China International Exhibition for Ceramics Technology, Equipment and Product (CERAMICS CHINA 2023), organized by Unifair Exhibition Service Ltd and sponsored by China Ceramic Industrial Association, will be held in Canton Fair Complex, Guangzhou. CERAMICS CHINA 2023 will gather more than 700 suppliers of equipment and materials from home and abroad, to display their high-quality products, leading technologies and solutions including raw materials, decorative materials, refractories, grinding materials, production and finishing equipment, spare parts, moulds, tools, design services, etc., to empower the high-quality development of the ceramics industry. Historical exhibitors of CERAMICS CHINA are from 30 countries and regions including China, Italy, Spain, Germany, UK, France, USA, Japan, Korea, Turkey, India, Iran, etc.
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Architect Muzharul Islam
Beyond his role as an innovative architect, Muzharul Islam was characterised by humility and an unassuming nature. His consistent choice of traditional clothing and a preference for a modest lifestyle indicated a deep commitment to his craft rather than a pursuit of personal recognition. The simplicity and focus on perfection in his work underscored the profound impact of his architectural contributions, and the enduring prominence of his legacy in South Asian architecture speaks volumes about his unwavering dedication and passion. The roots of modernism in Bengal can be traced back to the Bengal Renaissance, a cultural and intellectual movement spanning the late 18th to early 20th centuries. This period witnessed a resurgence of liberal thoughts, intellectual exploration, and a reevaluation of traditional norms. The Bengal Renaissance played a pivotal role in reshaping ideas related to liberalism and modernity. During the British colonial rule, neo-classical and neo-gothic aesthetics significantly influenced East Bengal’s architecture, evident later on in East Pakistan in public structures symbolising power, the rule of law, and cultural dominance. Before the 1971 War of Independence, which resulted in the formation of Bangladesh, East Pakistan sought to establish itself as a liberal community. One significant architecture during this period was the Faculty of Fine Arts, which emerged as a modern marvel. This architectural endeavour intentionally steered clear of ornamental elements associated with Mughal or Indo-Saracenic styles. Muzharul Islam, the architect behind this significant structure, employed a conscious strategy in abstracting his design through a modernist visual expression. This deliberate approach aimed to rid the architecture of perceived political associations with instrumental religion. By steering clear of traditional and ornamental influences, he aimed to create a design that stood as a manifestation of secular ideals, distancing itself from the religiously charged politics that defined the era. In doing so, the Faculty of Fine Arts became more than just a physical structure; it became a visual and ideological statement, symbolising the pursuit of a secular and liberal identity for East Pakistan through its architecture. Indeed, Mr. Muzharul Islam’s influence extends far beyond his time, establishing him as the one of the most influential architects in the history of his country. His visionary contributions to architecture, coupled with his dedication to shaping the national identity through his work, have left an indelible mark. In 1964, at the pinnacle of his career, Muzharul Islam established the architectural consulting firm “Bastukolabid”. It marked a milestone, as it was the first architectural consulting firm in the East Pakistan. At that juncture, one who could have done his work solely for personal profit, he expressed the desire for collaboration with world-class architects. That period witnessed the notable involvement of the American trio — Louis Kahn, Paul Rudolph, and Stanley Tigerman — in architectural endeavours in Bangladesh. Muzharul Islam played a pivotal role in fostering this collaboration, recognising the need for visually and intellectually stimulating paradigms in the Bengali context. The partnership brought a global perspective to the architectural landscape and contributed to the enrichment of architectural discourse and innovation in this region. Muzharul Islam’s visionary dream was to elevate Bangladesh into a developed, alluring, and civilized nation through meticulous physical planning and control over every square foot of its territory. He aimed to craft a distinctive national identity that would set Bangladesh apart. Muzharul Islam, a fervent patriot who not only fought on the battlefield during the 1971 War of Independence but also contributed significantly to shaping the national identity through his endeavours in art and architecture, faced a disheartening period of neglect in the post-independent era. Following Bangladesh’s independence in 1971, Muzharul Islam found himself marginalised from government projects, a stark departure from his active role in the liberation movement. The reasons behind his sidelining were multifaceted, with a prominent factor being his steadfast commitment to Marxist and Leninist principles. This ideological stance placed him at odds with the establishments during that period. Despite his noteworthy contributions to the freedom of Bangladesh, Muzharul Islam experienced discord with the post-independence political landscape. This period of neglect serves as a poignant illustration of the complexities and challenges faced by individuals with unwavering ideologies in the aftermath of political transitions. In 1953, at the age of 30, Muzharul Islam designed the Institute of Arts and Crafts (Art College) building in Dhaka. It is recognised as the first modern building in Bangladesh. After completing the Fine Arts Building in 1956 and the National Library in 1958, it was being said that Muzharul Islam wanted to include other arts like music building, dance, and dramatics departments in addition to the architecture school besides the Fine Arts Building. Creating a total art complex would have expanded the scope of architectural education, breaking away from the traditional notion that architecture is solely rooted in science. If Muzharul Islam had succeeded in implementing his vision, it could have had a profound impact on architectural education in the country. The inclusion of diverse art forms within the same educational campus might have fostered creativity, collaboration, and a broader understanding of the cultural and aesthetic aspects of architecture. This holistic approach could have produced architects with a richer skill set, capable of not only designing structurally sound buildings but also creating spaces that resonate with cultural and artistic expression. Throughout the 1950s and 1960s, Muzharul Islam’s Six-B pencil and charcoal inspired designs like Falgudhara, building one modern architecture after another. Science Laboratory (BCSIR) building in Dhaka, NIPA Bhawan of Dhaka University, BADC Bhawan and Jiban Bima Bhawan in Motijheel, Rangamati Township, Chittagong University, Jahangirnagar University, the World Bank Dhaka Office, Mausoleum of National Poet Kazi Nazrul Islam etc. are modern architectures used as a tool to build a modern society. His most important work was born when the Governor’s Conference of Pakistan decided in 1959, under the President Ayub Khan, that Dhaka will be the second capital of Pakistan. The government decided to build a capital complex at Sher-e-Bangla Nagar, Dhaka. Muzharul Islam was given to design Jatiyo Sangsad Bhaban (National Assembly Building
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Fu-Wang Ceramic Industry A Journey of Resilience and Growth
FU-WANG Ceramic Industry Limited, founded in 1995 as a joint venture between Taiwan and Bangladesh, has evolved into a major player in the ceramic industry. Despite Taiwan investors’ departure in 2008, the company continued to thrive, reshaping the landscape of ceramic production in Bangladesh. During the 1990s, Bangladesh heavily relied on ceramic imports from countries such as China, Sri Lanka, Spain, and Italy. Fu-Wang entered the market and made a significant impact. Subsequently, other prominent players like RAK, CBC, and Mir Ceramic joined, solidifying their presence in the country’s tiles market. Presently, RAK, DBL, Fresh, Fu-Wang, and X Ceramic are the key players in Bangladesh’s tiles sector. With an aggregate investment of $1.8 billion in the ceramic sector, of which 66 per cent is allocated to the tiles, the domestic tile market is valued at $650 million. Fu-Wang Ceramic Industry went public in 1998, listing its shares on the Dhaka and Chattogram Stock Exchanges. Fu-Wang Ceramic has created a good number of employment opportunities. Its products are manufactured in the factory of Gazipur. The company has since maintained impressive annual growth, consistently achieving a 20 per cent increase. Product diversification and challenges faced Fu-Wang Ceramic Industry is known for producing two types of products: those tailored for the mass market including industries, universities, shopping malls etc. and luxurious tiles designed for apartments, hotels and offices. The company has also introduced high-quality brands like Picasso and Picasso Premium, offering larger wall sizes and various floor sizes tiles under the guidance of European and Asian technologists. The foundation of Picasso Premium 60x60cm PGVT tiles lies in state-of-the-art robotic technology. Each tile is crafted with unparalleled precision and accuracy, ensuring uniformity in size and shape. The company employs Nano Technology in the production of PGVT tiles, enhancing their durability and shine. This advanced technology creates a protective layer on the tile surface, making them resistant to scratches, stains, and wear. The timeless elegance of marble, the warmth of wood, or the modernity of concrete, Fu-Wang designs capture the essence of nature and elevate the interior design to new heights. Each of 60x60cm PGVT tiles is meticulously packed with a surface protective film. This film safeguards the tiles during transportation and installation. However, the industry currently is facing a range of challenges. These include difficulties in opening Letters of Credit (L/C), surging natural gas prices coupled with low gas pressure, and unreliable electricity supply to factories. Moreover, navigating the intricate landscape of government policies has posed additional obstacles for businesses in Bangladesh. Besides, current economic headwinds has contributed to decline in the sales of the ceramic products. To carry on the business, the government should withdraw Supplementary Duty (SD) on the local ceramic products and supply gas and electricity uninterruptedly to the factories. The CEO of Fu-Wang Ceramic Industry Limited (FWCIL), Mr. Rafiquzzaman Bhuiyan, shared his experiences with the Ceramic Bangladesh (CB) in an exclusive interview. Adapting to market dynamics Despite these challenges, Fu-Wang Ceramic Industry remains steadfast in its commitment to leading the tiles sector in Bangladesh. The CEO recognises that competition is intensifying, and only large companies will be able endure while smaller ones might face closure. Making profit is tough due to competition. Besides, the demand for high-value and luxurious products is increasing in local and international markets. So, small companies have to compete with large companies. However, considering current market demand, they have to change product designs in accordance with new technology. Now local companies are meeting 85 per cent domestic market demand. And the rest of 15 per cent is met by imported products. If they can reduce import dependency further, dollar reserve will increase. So, policy support is crucial. “Our plan for the future is to manufacture selective and valuable products to compete in the market. We will expand our production base. Mass production helps to reduce product costs. We will produce high-value products in the future increasing market demand,” said Mr. Rafiquzzaman Bhuiyan. To meet the evolving market demands, Fu-Wang plans to adapt its product designs using new technologies. Moreover, they aim to reduce their dependency on imported products to bolster their reserves. The company’s strategy for the future is to manufacture selective and high-value products to cater to the increasing demand in both local and international markets. Export challenges, domestic potential While the export market has presented challenges due to global competitiveness, the domestic market for tiles has experienced significant growth. Changes in people’s lifestyles and increased per capita income have contributed to the surge in demand. Fu-Wang is exploring the possibility of entering the tableware manufacturing sector and is focusing on branding and digital marketing to expand its market presence. A call for government support and FDI The domestic demand for tiles has increased vastly thanks to change in people’s lifestyles and booming construction sector. A good number of companies have also been established here. In Bangladesh, the number of tile companies may further go up as tiles are now used in rural areas too. So the market is expanding, and it will continue to expand. People are spending more money on their houses as a pre-emerging country. In this context, Fu-Wang management is planning to what type of new products can be brought in the market in future. Meanwhile, Bangladesh has made a reputation in the international market exporting high-valued tableware products. However, there is a huge potential for foreign direct investments (FDI) in Bangladesh. The government has set up 100 special economic zones, something which is a positive initiative to bring more FDI. Also, there are some challenges including land scarcity, gas and utility supply, and the business operational registration process. All problems should be resolved as soon as possible. Besides, transparency and accountability are crucial to ensure ease of doing business. Basically, the country’s all services should be available on online. Mr. Rafiquzzaman Bhuiyan underscored the need for government support, including withdrawal of supplementary duty on local ceramic products, reducing import duties on raw materials, uninterrupted gas supply, and reliable electricity
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Silence, an Integral Aspect of ARCHITECTURE
As Nurur Rahman Khan commenced his discussion on architecture, a concept exists only as an idea that becomes apparent once it is created. Attaining the deep level of architecture requires a great deal of time, attention, and meditation. If we wish to reach that level of it, we must bring our soul to it. It could be difficult for the public to comprehend or accept it entirely. Nurur Rahman Khan began his architectural career at Bangladesh University of Engineering and Technology (BUET), despite lack of understanding of how architecture functions. The sole realisation he possessed was that architecture constitutes a fusion of engineering and creativity. In his formative years, he delved deeply into music, photography, graphic design, acting and writing alike. Before he began his career in architecture, he had no prior experiences in drawing or sketching. Over the time, he acquired the skill of drawing architecture from mathematical drawings in the form of ‘axonometric’ drawings. He did not become aware of architecture until the very end of his first academic year, since it was then that he was able to appreciate architecture’s beauty. As a consequence of his subpar craftsmanship, he used to receive lower grades. After his first year of school, he began going to the library to learn about the aesthetics of architecture. It was at that point during which he began comprehending the aesthetics of architecture, and since then he never stopped his journey to acquire knowledge about it thereafter. He continued by outlining the method by which architects prioritise aesthetics over attaining the fundamental purpose of their design, instead of flaunting the design, one should be proud of it. The greatest architect of Bangladesh, according to him, is Muzharul Islam, and his level of prosperity ends there. We are forfeiting numerous facets, failing to appreciate the true essence of architecture. Our focus has shifted towards the grandiose, the towering, and the extravagant, relinquishing our humanity to the allure of grandeur and brand-centric values. Addressing the architects within our community, NR Khan inquired about the apparent challenge in reaching the remarkable levels of creativity and imagination set by Muzharul Islam in the field of architecture. Tanya Karim and Nurur Rahman Khan, who are partners, founded an architectural firm with the goal of significantly altering the architectural arena. Their office became known for its theoretical pretext, search for situated modernity, and use of historical and cultural allusions. In the summer of 1991, Tanya Karim, NR Khan & Associates became known as an architectural firm leading the way in modern ideas in Bangladeshi architecture. Throughout his academic journey, he teamed up with Tanya Karim as a groupmate, and their collaborative synergy flourished after they graduated between the years 1992 to 1993. In his viewpoint, when discussing Tanya Karim, he recognised her as a nurturing figure who would impart knowledge to classmates just before exams. He highlighted the enduring complementarity between himself and Tanya Karim. During their studies with her, a profound mental connection was forged. Tanya Karim played a pivotal role in enlightening him about the intricacies of art, fashion, and other facets of design, drawing from her upbringing in a culturally enriched family. Their designs are always inextricably linked to the point at which the architecture’s user finds it worthwhile. “A project is a canvas of someone else and we are the architects painting on it. If we indulged ourselves in a self-centered design, it definitely would have been a short lifespan,” Nurur Rahman Khan remarked. They (TKNRK) have secured positions of distinction in numerous competitions, notably triumphing in the National Competition organised by the Institute of Architects Bangladesh (IAB) in 2012. They clinched the 1st prize for their outstanding design of the Bangla Academy. The Bangla Academy project takes a multifaceted approach to sustainability rather than focusing only on being “environment friendly”. The “site” is the first sustainability metric that the project looks at. On the grounds of a historic building and later additions to the “Bangla Academy Complex’’. In the modern era, there appears to be a tendency to use sophisticated design techniques and technologies to achieve a “green” solution to building design. It is important to remember that utilising the actual “environment” is one of the most logical approaches to designing “environment friendly” architecture. The site, the environment, and the climate should take center stage. “Indifferent” methods can be used to create a successful “green” architectural design. As for the building design, a significant portion of the office building has been designed to benefit from natural ventilation and abundant natural lights. Most days, the interior is bathed in natural light, creating a well-lit and airy environment. Moreover, when discussing TKNRK, he emphasised, “We are forward-thinking individuals, acutely aware of the essence of our architectural pursuits. Our ancestors crafted cities like Mahasthangarh 2000 years ago without external guidance as today’s. Therefore, as architects today, why limit ourselves to the mundane concept of a ‘Kurey Ghar’ (hut) that does not align with our cultural heritage? Instead, let’s draw inspiration from the grandeur of the cities our forebears-built millennia ago and aspire to create something extraordinary. By utilising costly materials to create an appearance of frugality, we are engaging in economic dishonestly within the country. This practice not only deceives the economy but also reflects a lack of integrity towards the materials themselves.” For him, it holds paramount importance to instill into people a genuine understanding of the true essence and user-centricity of architecture, steering clear of the reliance on extravagant products merely for aesthetic appeal. Whether designing a school or any other space, the emphasis lies in ensuring that the design not only looks the part but also functions seamlessly according to its intended purpose. In his elucidation about TKNRK, he expressed that, they do not adhere blindly to any distinct style, recognising that they are in a constant state of learning and evolution. The absence of a signature style, in itself, constitutes their unique design approach. Emphasising the diversity of our nation’s inherent genetic
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Remains of ARMENIA
As you walk through that particular street of Armanitola where the Armenian Church has been perching for almost two and a half centuries, its white coloured skin subtly piercing you with an invitation to enter inside, a peculiar sillage coming to life from the hundreds of variants of notes from the line of perfume shops beside, mixed with the eerie scents carried by the winds flowing over the Buriganga which is just within a minute of walking distance, will hit your nostrils. Soon, you will start noticing all the examples of unplanned and unappetising architectures of different heights and looks that popped up in the recent decades and still keeps popping up every now and then with no signs of stopping, trying its best to engulf the church with the shadows of its murky glory. The current state of many of the historical structures that had been living in Old Dhaka for centuries, is just like the present attire of Old Dhaka that we gradually forced her to wear – a living testament of what we were, what we could have been and what we are now. Despite our passionate habits of being collectively amnesic towards history and always letting our greed filthily winning over the importance of preservation of historic structures, some monuments somehow still managed to sail through the waves of time and survived. While many are only skeletons of their mighty past or half alive with all their graciousness, some continue to breathe. As if in an endeavour to effortlessly remind us of the fascinating times that are by gone. The Armenian Church in Dhaka is one of them. The Armenian Apostolic Church of the Holy Resurrection or simply known as The Armenian Church, is located in 4 Armenian Street, Armanitola between Armanitola and the Mitford Hospital Dhaka, is named after the Armenian Colony which settled here in the early 18th Century. It was built in 1781 on the ruins of an earlier chapel and later, in 1837, a steeple serving as a clock tower, was added towards the west, near the belfry. This collapsed during the earthquake of 1897. The name of the church and the area it is situated in, easily gives off hints about certain aspects of its stories. When you think of historical structures, particularly about those which were built during the colonial era, it is obvious that you would relate it with the British period in Bengal. But the British were not the only Europeans who sailed here in the heydays of business and commerce in the region. The Dutch, Portuguese and notably French traders also set important businesses in parts of present-day Bangladesh with majority of the setups being in Old Dhaka. Another typically less talked about history of Europeans who set up a colony here only with the intentions of business, is the enthralling history of Armenians in Bangladesh. Although there is no exact record of when the Armenians first came to Dhaka but based on historians and the evidence of dates on ledger stones, it is assumed that they first came to Dhaka around early 18th century and most were engaged in the jute trade and the community was small but wealthy. Interestingly parts of the gardens of Shahbag, Ruplal House and the plot where Bangabhaban stands today, belonged to Armenian landlords. As you enter the church premise, you will be welcomed by an inexplicable aura. When you start your curious walk inside the church compound, what will make you wander in wonder at first are all the ledger stones surrounding the main church building. A few of them dug even before the church was built, these are graves of Armenians who rest here, each with their different stories. On one side, an age-old Armenian residence rests, almost in ruins and not allowed for visitors to enter anymore due to safety issues, as there are risks of it crumbling anytime. At another side amongst the calmness of ledger stones, stands a sundial. You will be even more surprised with a touch of eeriness after you enter inside the church and notice that there are ledgers stones beneath some of the benches of the prayer hall too. Imagine sitting on a bench set above someone’s grave who died decades back, spooky? There are also elements embodying biblical visuals, including a painting of a scene from The Last Supper. There are a plethora of details about the entire architecture of the church, the history of Armenians in Bangladesh, the context of their arrival and their life in Dhaka, etc., which are difficult to fit within the constraints of a magazine, and above all the distinct aura that spaces like these holds, which is almost impossible to portray with words in any format. And your best option to experience it is by visiting the space. With that being said, this magnificent monument might have breathed its last long back or would have been in the verge of turning into complete ruins, just like many of its kind in the area! But it solely survived due to one Armenian gentleman, Michael Joseph Martin. The stories of what Martin did to ensure the survival of this last monumental remnant of Armenians in Dhaka, is beyond heroic. In the mid 1980s when the church was in a horrible state, Martin took charge of the place in a turn of events. Despite all the grievous hindrance he had to endure from the locals, including property-related issues which he solved at court, illegal grabbing of the space and misusing for profit, and even life threats, Martin along with the support of his family firmly managed to spearhead the restoration process and later dedicated the rest of his life to keeping the church breathing. Martin was the last Armenian resident in Dhaka. Due to health issues, he had to move to Canada in 2014 to stay with his family. During the pandemic, the former custodian of the church passed away at the age of 89 and then
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Innovation unleashed at the Ceramic Expo Bangladesh-2022
The first few teasers of the Ceramic Expo Bangladesh-2022 ushered in the forthcoming of one of the biggest and highly anticipated ceramic events in the country. The event took place in ICCB, Dhaka, from 24-26 November, 2022, and was buzzing with visitors all three days. The Ceramic Expo housed 120 exhibitors, 300 brands from 20 countries, and 500 delegates, along with a whopping 23,000 visitors. It brought under one roof exporters, manufacturers and suppliers of ceramic and related products. During the event, visitors came from all over, dispersed excitement across the venue, and filled it with murmurs of conversations. As excitement spread, we saw visitors and exhibitors interact, and the event turn into a big success. Sheltech Ceramics one of our Platinum Sponsors exhibited their largest tiles Sheltech Ceramics Limited, showcasing the country’s largest (1m x 1m) tiles, participated in the prestigious Ceramic Expo-2022. Owing to the exquisite design of the pavilion, it received the Best Pavilion Award (Gold) from the jury members. Sheltech Ceramics embellished its pavilion with a minimalistic touch of white and blue. Architecturally, the pavilion was designed in a way that was intended to draw visitors’ a-ention easily. One of the key cornerstones of this pavilion was to portray product manufacturing dynamism with diverse dimensions and types towards all segments of the target group or customers, like architects, corporate clients, end users. Additionally, the tiles were displayed in a manner that covered every segment in terms of colour and size. It is worth mentioning that, with modern machinery enriched with European technology, Sheltech Ceramics is equipped to produce 39,000 sqm of premium wall and floor tiles per day spanning multiple sizes and textures. Exploring the pavilion, one could see that the tiles were shown exactly as they would be when tiled. The white backdrop was used to accent the vibrant collection to draw more visitors’ a-ention. Other tiles were displayed on the walls; alongside those, photos of the factory took over some portions of the walls, demonstrating the magnitude of the company’s production capacity. Especially, the company’s remarkable journey is portrayed on the front wall. Coming to the centre-stage of Sheltech Ceramics, the Prime Series was the frontrunner amongst the displayed products and was highlighted throughout the event. The 1m × 1m tile from Sheltech Ceramics is the largest floor tile manufactured in Bangladesh and was an absolute head-turner at the event. Launched in May 2022, the Prime Series is produced in an environmentally sustainable way. This 12-mm-thick Prime series floor tile ensures a lot of benefits, including a moderate water absorption rate, a robust and extremely durable texture, a glossy, light-reflective surface, and the ability to withstand thermal stress. It has diverse and a-ractive pa-erns with flawless textures, and most importantly, it is easy to clean and maintain. Mr. Kutubuddin Ahmed, Chairman of Sheltech Group and Envoy Legacy, and Mr. Tanvir Ahmed, Managing Director of the same, graced the event with their presence along with other marketing personnel. Sheltech Group, with more than three decades of experience, launched Sheltech Ceramics in 2019 which exclaims an unwavering commitment to innovation and design and moves forward with ongoing trends. DBL Ceramics joined in as a Platinum Sponsor as well acquiring 70% lead conversion DBL Ceramics became part of the Ceramic Expo Bangladesh-2022 as a Platinum Sponsor and showcased five new products in their pavilion. DBL Ceramics’ research and development team worked tirelessly for six months to plan some of the best and most recent tile collections from DBL Ceramics to display in the pavilion. As one walks towards the pavilion, one is struck by the vibrancy of the tangerine laser-cut design pa-erns on the walls and roofs of some pavilion sections. The products were displayed on the walls, screens, and, in most cases, retractable panels and drawers. Among the various elements of the pavilion, one wall featured a sophisticated analog clock and a corner with an all-white conference table. The pavilion showcased not only the new and innovative products from the catalogue, but also had exclusive insights on upcoming products that DBL Ceramics was working on at the time. The front runner at their pavilion was the Glue and Granilla tiles, which is a glazed porcelain, and has a premium decorative texture. Having granules glued to the surface makes it anti-slippery and abrasion resistant. A leading brand with over 160 dealers and six major display centres across the country, DBL Ceramics is expanding and has a new extension called Bright Ceramics. The company adopted the practices and concepts of Industry 4.0 and has factories with state of the art machineries. Mr. M. A. Jabbar, Managing Director, Mr. M. A. Rahim, Vice Chairman, Mr. M. A. Quader, Deputy Managing Director and Group CEO, Mr. Md. Bayazed Bashar, Head of Operations of DBL Ceramics, along with other senior officials graced the event with their presence. There were special appearances from celebrity guests such as Ms. Aupee Karim and cricketer Taskin Ahmed. And finally, there were also live sessions with industry experts. DBL Ceramics’ strategy for the 2022 expo was to display the newest innovations. Every year architects, designers, and experts from dierent companies and oices visit the Expo and extensively engage with the stalls. At the 2022 Expo, DBL Ceramics focused on acquiring these leads, and had a 70 per cent conversion rate among all leads. “The 20-30 per cent that we weren’t able to convert was because we weren’t planning to launch those products at the time,” said Mr. Bayazed Bashar, Head of Operations at DBL Ceramics. The Expo was a grand success, and we had tremendous response from visitors and exhibitors. We can only hope that the hype will be even more for the Ceramic Expo 2024. BCMEA Report
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Shahjalal Bank First Green Building in the Banking Sector of Bangladesh
Shahjalal Islami Bank PLC is playing an important role in providing investment in all areas of manufacturing and service sectors, ready-made garments, trade financing, infrastructure and agriculture. Starting operations on 10 May 2001, the bank is running with 12,40,000 deposit and investment customers. As a third generation Islamic Shariah-based private commercial bank of the country, Shahjalal Islami bank plc has reached a strong position within a short span of time and has been playing a worthy role in the economic development. The financial base of this bank is very strong. The bank has currently been providing banking services to its customers with great reputation and trust through 140 branches, 4 sub-branches, hundreds of ATM booths and agent banking outlets, one offshore banking unit and priority centre across the country with 3,000 staffs. It has its iconic 17-storied building with basement on Gulshan Avenue in the capital Dhaka, where the bank’s head office operations are being conducted and being USGBC Lead Gold certified, this building is the first green building in the banking sector in the country. Renowned Architecht Prof. Shamsul Wares has designed the building. The total deposits of this bank (as on September 2023) is about Tk. 24,421.70 crore and investment amount is Tk. 23,023.45 crore. The amount of import trade in first nine months was Tk 18,982.00 crore and the amount of export trade was about Tk 18,596.00 crore. Shahjalal Islami Bank’s credit rating is AA+ for long term and ST-2 for short term as per Emerging Credit Limited (ECRL) rating. This rating proves that the bank is one of the leading financially strong banks and both customer deposits and investments in this bank are safer and risk free. It has launched Islamic Credit Card following the Wakalah concept of Islamic Shariah. It has 24-hour ATM service and real time online banking and SMS push-pull service. It has agreements with more than 20 of world-renowned remittance companies to provide overseas remittance services, including Western Union, MoneyGram, RIA, Transfast, BRAC Sason, and Al Zaman. Expatriate Bangladeshis can send home hard-earned money, which their relatives can withdraw from any branch of the bank. Moreover, all the branches have facility of online-based utility bill payment. A customer can deposit all types of fees and taxes of Titas Gas, PDB, PalliBidyut, WASA, DPDC, DESCO and BTCL through any branch of Shahjalal Islami Bank PLC. All its branches have e-GP service for respected traders, through which all types of government tenders can be submitted online. No charges are levied for pay orders associated with this e-GP. Shahjalal Islami Bank PLC is working for bringing the people of remote areas under banking services. Thus it is expanding branches and sub-branches. The bank wants to deliver everyday financial services and products easily to the doorsteps of common people. As part of the financial inclusion programme, it wants to extend banking services to all sections of the society. The bank’s remarkable number of agent banking outlets and ATM booths set up in different parts of the country are providing 24/7 cash services. The board of directors of the bank is comprised of professionally competent persons who can formulate policies and guidelines and supervise business and ensure good governance in the banking sector. The Managing Director and CEO of the bank, Mr. Mosleh Uddin Ahmed, said, “Our goal is to provide welfare banking services to all the people. Profit making is not the main objective. For this purpose, Shahjalal Islami Bank Foundation has been established in consideration of social responsibility, through which this bank provides free medical treatment to helpless and poor people, distributes food and relief items in cyclone and flood-affected areas, provides scholarships to meritorious and poor students and other humanitarian aid. It is trying to spread light of education, public welfare activities, providing scholarships to 600 poor meritorious students studying at higher secondary and graduation level.” “We firmly believe if every financial and business institution spends even a fraction of their profits on improving education of children from poor families, we will definitely have a well-educated and skilled nation. Moreover, cooperation in the development of sports, social and cultural development is being provided as well. Shahjalal Islami Bank PLC provides free Hajj guides, umbrellas and bags to Pilgrims every year and provides bus service for Hajis from Haji camp to Airport.” National and International recognitions and awards Shahjalal Islami Bank PLC has received several national and international recognitions/awards in recent years for its excellent and cordial customer services. It has received the award as a recognition of success for achieving a satisfactory position in the sustainable rating by Bangladesh Bank. On 29 August 2023, The bank’s MD and CEO received the award from the central bank Governor. The Bangladesh Institute of Bank Management (BIBM) awarded Shahjalal Islami Bank PLC for Sustainable Rating 2023. The bank won the Gold Award (First Prize) at the 9th ICSB National Award for Corporate Governance Excellence-2021 for best presented annual report 2021. The award was given for ensuring sound corporate governance, discipline and transparency and accountability in the overall management of the bank. Institute of Chartered Secretaries of Bangladesh (ICSB) awarded Gold Award to this bank in Private Commercial Bank (Islamic Operation) category on 2022. Also, it won the 1st Prize in the 22nd ICAB National Award for best presented annual report. Shahjalal Islami Bank PLC won the first prize (Gold) in “ICMAB Best Corporate Award-2021” for best presented annual report of 2021. The Institute of Cost and Management Accountants of Bangladesh (ICMAB) awarded Gold Award to Shahjalal Islami Bank PLC as the 1st place in Private Commercial Bank (Islamic Operations) category on 2022. The bank has won awards in three categories from South Asian Federation of Accountants (SAFA) for best presented annual report of 2020. The bank won the first runner-up award in the Private Sector Banking Institutions category, the joint first runner-up award in the SAARC Anniversary Award for Corporate Governance category and the second runner-up award in the overall category. The bank is constantly working
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Dream Train in the City of Oysters
Cox’s Bazar Rail Station has been built as a modern marvel for travelers.
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Dream Train in the City of Oysters
Cox’s Bazar Rail Station has been built as a modern marvel for travelers. The new ‘green field’ of railway alignment has connected Cox’s Bazar, the top tourist destination and a rapidly developing region in Bangladesh. Finally, the long-term dream of tourists has been fulfilled. On November 11, 2023, Prime Minister Sheikh Hasina inaugurated the 102-kilometre dual gauge single railway line between Cox’s Bazar and Dohazari in Chattogram and the newly built Cox’s Bazar iconic rail station in the shape of oyster shell. The architect of the station, Mohammad Foyez Ullah, principal architect of Volume Zero Limited, took inspiration from the shape of an oyster for its exterior, which symbolises the beach. It is a station with marine atmosphere at first sight. With this, not only has the country’s leading tourist destination become more easily accessible, the entire southeast region is also poised for boosting trade and connectivity. The rail link project, the latest among several such communication-related projects, is part of an elaborate development scheme focused on Cox’s Bazar. Enhanced connectivity will be crucial for transportation of goods to and from Teknaf land port, as well as the growth of local industries including fish, salt, rubber raw materials, forest and agriculture products and dried fruits, according to local business experts. There are nine railway stations on this route, which means the surrounding areas will also see economic transformation. After Cox’s Bazar to Chattogram the stations are followed by Ramu, Islamabad, Dulahajara, Chakaria, Harbang, Lohagara, Satkania and Dohajari. The rail line will be extended to the Myanmar border, and to the planned deep-sea port on Matarbari Island. The extended part will have three stations – Ukhia, Teknaf and Ghumdhum (Bandarban). Cox’s Bazar Station to enhance tourists’ experience Nestled on a 29-acre expanse in Chanderpara, under the Jhilongjha union in Cox’s Bazar Sadar upazila, stands the paradise sighting station, located three km away from the sandy beach, built at a cost of Tk 215 crore. The six-storied building, covering 187,000 square feet area, captivates visitors with its unique exterior. The canopy serves a dual purpose — not only enhancing the station’s aesthetic appeal but also effectively cooling the building, ensuring proper air circulation, and welcoming ample natural light, according to the project engineers. Adding to the visual allure, a variety of coloured lights grace the front of the building, providing an artistic perspective to the station’s entrance. This station is Asia’s first 100 per cent tourist-friendly central air-conditioned multi-storied station. It has all kinds of facilities for tourists. Arrangements have also been made so that tourists can visit Cox’s Bazar in a day and return the same day without hotel accommodation. This railway is perfect Cox’s Bazar as an international tourist hub. It will be helpful to bring foreign tourists. Not only in the winter, tourists will be encouraged to visit Cox’s Bazar throughout the season including monsoon. In the construction of this iconic station, facilities of various modern stations of the world including China, Belgium, England, and Italy have been taken into consideration. A total of 250 engineers and more than 600 people, including 110 foreigners, were working in the entire project. After four years of hard work, the uniquely beautiful railway station building is visible today. On the ground floor, ticket counters, arrival and VIP lounges, ATM booths, Bank and forex service, pharmacy, post office, railway service office, baby care centre, information booth, and luggage lockers. The first floor offers a departure lounge, waiting lounges, display centres, locker room, prayer space, shops, and a cafe. Levels 2 to 5 house a shopping mall and food court, bookshop, five-star overnight stay option with dining, office spaces, restaurants, a multipurpose hall and hotel with recreational space for passengers. The hotel has 39 rooms. The fourth floor is intended to be leased for offices and conferences. Top floor reserved for future use. Travelers arriving at Cox’s Bazar by overnight train can conveniently store their belongings in lockers and explore the beach and other tourist spots during the day before catching a night train back to Chattogram or Dhaka. Tourists can leave their luggage in station lockers while they enjoy their time sightseeing at the beaches and tourist sites. Around 500 tourists will be able to keep their luggage in the station lockers at a time. As a result, tourists would be able to leave Cox’s Bazar without staying at night in hotel. However, they have to pay locker rent for this. The station is equipped with ample amenities, including escalators, lifts, parking area and refresh rooms for men, women, and those with physical disabilities. Accessing any of the three platforms is made easy with a footover bridge connected to escalators, staircases, and a ramp bridge facilitating movement between platforms. The rail station also features separate facilities for women, children, the elderly people. The Cox’s Bazar station has the capacity to transport around 50,000 people each day, as well as facilitate the operation of wagons for transporting fish, dried fish, salt and other items. Work of the project is being completed in two parts with China Railway Engineering Cooperation (CREC) and Toma Construction carrying out the first part from Dohajari to Chakaria and China Civil Engineering Construction Corporation (CCECC) and Max Infrastructure Limited are doing another part from Chakaria to Cox’s Bazar. Additional Deputy Inspector General of Tourist Police Cox’s Bazar region Apel Mahmud said the arrival of tourists in Cox’s Bazar will increase, thanks to the train service. All kinds of preparations have been made for the service and safety of tourists, he added. Passengers say the journey is enjoyable. A crooked rail line has been built through the green field and forest. Sometimes the hills touch, sometimes the eyes will be drawn to the unique beauty of the green village of Bangladesh. A hundred kilometers of railways has completed to see such a scene. Every station is equipped with relay batteries, generator rooms, sewage and waste management facilities, and energy-saving features such as solar panels. Both meter and broad gauge rail
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Ahead in Time’s Silent Symphony
Beyond his role as an innovative architect, Muzharul Islam was characterised by humility and an unassuming nature. His consistent choice of traditional clothing and a preference for a modest lifestyle indicated a deep commitment to his craft rather than a pursuit of personal recognition. The simplicity and focus on perfection in his work underscored the profound impact of his architectural contributions, and the enduring prominence of his legacy in South Asian architecture speaks volumes about his unwavering dedication and passion.
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Fu-Wang Ceramic Industry A Journey of Resilience and Growth
FU-WANG Ceramic Industry Limited, founded in 1995 as a joint venture between Taiwan and Bangladesh, has evolved into a major player in the ceramic industry. Despite Taiwan investors’ departure in 2008, the company continued to thrive, reshaping the landscape of ceramic production in Bangladesh. During the 1990s, Bangladesh heavily relied on ceramic imports from countries such as China, Sri Lanka, Spain, and Italy. Fu-Wang entered the market and made a significant impact. Subsequently, other prominent players like RAK, CBC, and Mir Ceramic joined, solidifying their presence in the country’s tiles market. Presently, RAK, DBL, Fresh, Fu-Wang, and X Ceramic are the key players in Bangladesh’s tiles sector. With an aggregate investment of $1.8 billion in the ceramic sector, of which 66 per cent is allocated to the tiles, the domestic tile market is valued at $650 million. Fu-Wang Ceramic Industry went public in 1998, listing its shares on the Dhaka and Chattogram Stock Exchanges. Fu-Wang Ceramic has created a good number of employment opportunities. Its products are manufactured in the factory of Gazipur. The company has since maintained impressive annual growth, consistently achieving a 20 per cent increase. Product diversification and challenges faced Fu-Wang Ceramic Industry is known for producing two types of products: those tailored for the mass market including industries, universities, shopping mall etc. and luxurious tiles designed for apartments, hotels and offices. The company has also introduced high-quality brands like Picasso and Picasso Premium, offering larger wall sizes and various floor sizes tiles under the guidance of European and Asian technologists. The foundation of Picasso Premium 60x60cm PGVT tiles lies in state-of-the-art robotic technology. Each tile is crafted with unparalleled precision and accuracy, ensuring uniformity in size and shape. The company employs Nano Technology in the production of PGVT tiles, enhancing their durability and shine. This advanced technology creates a protective layer on the tile surface, making them resistant to scratches, stains, and wear. The timeless elegance of marble, the warmth of wood, or the modernity of concrete, Fu-Wang designs capture the essence of nature and elevate the interior design to new heights. Each of 60x60cm PGVT tiles is meticulously packed with a surface protective film. This film safeguards the tiles during transportation and installation. However, the industry currently is facing a range of challenges. These include difficulties in opening Letters of Credit (L/C), surging natural gas prices coupled with low gas pressure, and unreliable electricity supply to factories. Moreover, navigating the intricate landscape of government policies has posed additional obstacles for businesses in Bangladesh. Besides, current economic headwinds has contributed to decline in the sales of the ceramic products. To carry on the business, the government should withdraw Supplementary Duty (SD) on the local ceramic products and supply gas and electricity uninterruptedly to the factories. The CEO of Fu-Wang Ceramic Industry Limited (FWCIL), Mr. Rafiquzzaman Bhuiyan, shared his experiences with the Ceramic Bangladesh (CB) in an exclusive interview. Adapting to market dynamics Despite these challenges, Fu-Wang Ceramic Industry remains steadfast in its commitment to leading the tiles sector in Bangladesh. The CEO recognises that competition is intensifying, and only large companies will be able endure while smaller ones might face closure. Making profit is tough due to competition. Besides, the demand for high-value and luxurious products is increasing in local and international markets. So, small companies have to compete with large companies. However, considering current market demand, they have to change product designs in accordance with new technology. Now local companies are meeting 85 per cent domestic market demand. And the rest of 15 per cent is met by imported products. If they can reduce import dependency further, dollar reserve will increase. So, policy support is crucial. “Our plan for the future is to manufacture selective and valuable products to compete in the market. We will expand our production base. Mass production helps to reduce product costs. We will produce high-value products in the future increasing market demand,” said Mr. Rafiquzzaman Bhuiyan. To meet the evolving market demands, Fu-Wang plans to adapt its product designs using new technologies. Moreover, they aim to reduce their dependency on imported products to bolster their reserves. The company’s strategy for the future is to manufacture selective and high-value products to cater to the increasing demand in both local and international markets. Export challenges, domestic potential While the export market has presented challenges due to global competitiveness, the domestic market for tiles has experienced significant growth. Changes in people’s lifestyles and increased per capita income have contributed to the surge in demand. Fu-Wang is exploring the possibility of entering the tableware manufacturing sector and is focusing on branding and digital marketing to expand its market presence. A call for government support and FDI The domestic demand for tiles has increased vastly thanks to change in people’s lifestyles and booming construction sector. A good number of companies have also been established here. In Bangladesh, the number of tile companies may further go up as tiles are now used in rural areas too. So the market is expanding, and it will continue to expand. People are spending more money on their houses as a pre-emerging country. In this context, Fu-Wang management is planning to what type of new products can be brought in the market in future. Meanwhile, Bangladesh has made a reputation in the international market exporting high-valued tableware products. However, there is a huge potential for foreign direct investments (FDI) in Bangladesh. The government has set up 100 special economic zones, something which is a positive initiative to bring more FDI. Also, there are some challenges including land scarcity, gas and utility supply, and the business operational registration process. All problems should be resolved as soon as possible. Besides, transparency and accountability are crucial to ensure ease of doing business. Basically, the country’s all services should be available on online. Mr. Rafiquzzaman Bhuiyan underscored the need for government support, including withdrawal of supplementary duty on local ceramic products, reducing import duties on raw materials, uninterrupted gas supply, and reliable
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Silence, an Integral Aspect of Architecture
As Nurur Rahman Khan commenced his discussion on architecture, a concept exists only as an idea that becomes apparent once it is created. Attaining the deep level of architecture requires a great deal of time, attention, and meditation. If we wish to reach that level of it, we must bring our soul to it. It could be difficult for the public to comprehend or accept it entirely. Nurur Rahman Khan began his architectural career at Bangladesh University of Engineering and Technology (BUET), despite lack of understanding of how architecture functions. The sole realisation he possessed was that architecture constitutes a fusion of engineering and creativity. In his formative years, he delved deeply into music, photography, graphic design, acting and writing alike. Before he began his career in architecture, he had no prior experiences in drawing or sketching. Over the time, he acquired the skill of drawing architecture from mathematical drawings in the form of ‘axonometric’ drawings. He did not become aware of architecture until the very end of his first academic year, since it was then that he was able to appreciate architecture’s beauty. As a consequence of his subpar craftsmanship, he used to receive lower grades. After his first year of school, he began going to the library to learn about the aesthetics of architecture. It was at that point during which he began comprehending the aesthetics of architecture, and since then he never stopped his journey to acquire knowledge about it thereafter. He continued by outlining the method by which architects prioritise aesthetics over attaining the fundamental purpose of their design, instead of flaunting the design, one should be proud of it. The greatest architect of Bangladesh, according to him, is Muzharul Islam, and his level of prosperity ends there. We are forfeiting numerous facets, failing to appreciate the true essence of architecture. Our focus has shifted towards the grandiose, the towering, and the extravagant, relinquishing our humanity to the allure of grandeur and brand-centric values. Addressing the architects within our community, NR Khan inquired about the apparent challenge in reaching the remarkable levels of creativity and imagination set by Muzharul Islam in the field of architecture. Tanya Karim and Nurur Rahman Khan, who are partners, founded an architectural firm with the goal of significantly altering the architectural arena. Their office became known for its theoretical pretext, search for situated modernity, and use of historical and cultural allusions. In the summer of 1991, Tanya Karim, NR Khan & Associates became known as an architectural firm leading the way in modern ideas in Bangladeshi architecture. Throughout his academic journey, he teamed up with Tanya Karim as a groupmate, and their collaborative synergy flourished after they graduated between the years 1992 to 1993. In his viewpoint, when discussing Tanya Karim, he recognised her as a nurturing figure who would impart knowledge to classmates just before exams. He highlighted the enduring complementarity between himself and Tanya Karim. During their studies with her, a profound mental connection was forged. Tanya Karim played a pivotal role in enlightening him about the intricacies of art, fashion, and other facets of design, drawing from her upbringing in a culturally enriched family. Their designs are always inextricably linked to the point at which the architecture’s user finds it worthwhile. One of their cherished projects is the Shanchita Residence, envisioned as a Baganbari- A House in a Garden. It was conceived with the idea of providing a nurturing environment for both the users and their children to cherish as they grow. The concept of Baganbari is not merely about architecture; it’s a philosophy woven into the very roots of the design. It is a place where family bonds are nurtured, and the architecture becomes a silent witness to the laughter, joy, and shared moments that shape the family. “A project is a canvas of someone else and we are the architects painting on it, if we indulged a self-centered design, it definitely would have a short lifespan,” Nurur Rahman Khan remarked. They (TKNRK) have secured positions of distinction in numerous competitions, notably triumphing in the National Competition organised by the Institute of Architects Bangladesh (IAB) in 2012. They clinched the 1st prize for their outstanding design of the Bangla Academy. The Bangla Academy project takes a multifaceted approach to sustainability rather than focusing only on being “environment friendly”. “Site” is the first sustainability metric that the project looks at. On the grounds of a historic building and later additions to the “Bangla Academy complex’’. In the modern era, there appears to be a tendency to use sophisticated design techniques and technology in order to achieve a “green” solution to building design. It is important to remember that utilising the actual “environment” is one of the most logical approaches to designing “environment friendly” architecture. The site, the environment, and the climate should take center stage. “Indifferent” methods can be used to create a successful “green” architectural design. As for the building design, a significant portion of the office building has been designed to benefit from natural ventilation and abundant natural lights. Most days, the interior is bathed in natural light, creating a well-lit and airy environment. Moreover, when discussing TKNRK, he emphasized, “We are forward-thinking individuals, acutely aware of the essence of our architectural pursuits. Our ancestors crafted cities like Mahasthangarh 2000 years ago without external guidance as today’s. Therefore, as architects today, why limit ourselves to the mundane concept of a ‘Kurey Ghar’ (hut) that does not align with our cultural heritage? Instead, let’s draw inspiration from the grandeur of the cities our forebears-built millennia ago and aspire to create something extraordinary. By utilizing costly materials to create an appearance of frugality, we are engaging in economic dishonestly within the country. This practice not only deceives the economy but also reflects a lack of integrity towards the materials themselves.” For him, it holds paramount importance to instill into people a genuine understanding of the true essence and user-centricity of architecture, steering clear of the reliance on
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Remains of ARMENIA
As you walk through that particular street of Armanitola where the Armenian Church has been perching for almost two and a half centuries, its white coloured skin subtly piercing you with an invitation to enter inside, a peculiar sillage coming to life from the hundreds of variants of notes from the line of perfume shops beside, mixed with the eerie scents carried by the winds flowing over the Buriganga which is just within a minute of walking distance, will hit your nostrils. Soon, you will start noticing all the examples of unplanned and unappetising architectures of different heights and looks that popped up in the recent decades and still keeps popping up every now and then with no signs of stopping, trying its best to engulf the church with the shadows of its murky glory. The current state of many of the historical structures that had been living in Old Dhaka for centuries, is just like the present attire of Old Dhaka that we gradually forced her to wear – a living testament of what we were, what we could have been and what we are now.
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Innovation unleashed at the Ceramic Expo Bangladesh-2022
The first few teasers of the Ceramic Expo Bangladesh-2022 ushered in the forthcoming of one of the biggest and highly anticipated ceramic events in the country. The event took place in ICCB, Dhaka, from 24-26 November, 2022, and was buzzing with visitors all three days. The Ceramic Expo housed 120 exhibitors, 300 brands from 20 countries, and 500 delegates, along with a whopping 23,000 visitors. It brought under one roofexporters, manufacturers and suppliers of ceramic and related products. During the event, visitors came from all over, dispersed excitement across the venue, and filled it with murmurs of conversations. As excitement spread, we saw visitors and exhibitors interact, and the event turn into a big success.
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Shahjalal Bank First Green Building in the Banking Sector of Bangladesh
Shahjalal Islami Bank PLC is playing an important role in providing investment in all areas of manufacturing and service sectors, ready-made garments, trade financing, infrastructure and agriculture. Starting operations on 10 May 2001, the bank is running with 12,40,000 deposit and investment customers. As a third generation Islamic Shariah-based private commercial bank of the country, Shahjalal Islami bank plc has reached a strong position within a short span of time and has been playing a worthy role in the economic development. The financial base of this bank is very strong. The bank has currently been providing banking services to its customers with great reputation and trust through 140 branches, 4 sub-branches, hundreds of ATM booths and agent banking outlets, one offshore banking unit and priority centre across the country with 3,000 staffs. It has its iconic 17-storied building with basement on Gulshan Avenue in the capital Dhaka, where the bank’s head office operations are being conducted and being USGBC Lead Gold certified, this building is the first green building in the banking sector in the country. Renowned Architecht Prof. Shamsul Wares has designed the building.
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RAK slabs to grace your very own
The ceramic industry is a flourishing demography with innovation at the forefront. Today, we have a brand that resembles elegance and reputation behind it, and also has the potential capability to do outstandingly. Slabs have been used in primitive times and has a clay composition. It came into existence in construction to cover roofs and floors, and the slabs streamlined surfaces and covered more spaces with less grout lines. Clay slab absorbs moisture.
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CONCORD The Pioneer in Construction
Concord is the only Bangladeshi company that has completed a 720-foot tall, iconic and technically challenging structure abroad. The SINGTEL Telecom Tower in Singapore was built by Concord in collaboration with Sumimoto Mitsui Construction Company Japan. Concord is proud for the National Martyrs’ Memorial (Jatiyo Smriti Soudho), the national monument of Bangladesh, set up in the memory of those who laid down their lives in the country’s War of Independence in 1971. The monument is located in Savar, about 35 km northwest of the capital, Dhaka. It was designed by Syed Mainul Hossain and built by Concord in 1982 in only 89 days.
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A Look Inside the Vibrant World the Potato Digital Office
Designed by architects Sanzid Iqbal Rizvee and Rubayet Ferdous, construction for the Potato Digital Office commenced in May 2022 and was successfully inaugurated in June 2022. Remarkably, within a brief period of 45 days, the team efficiently designed and executed the vibrant space at their new Gulshan branch. Soon, the office turned out to be the talk of the town.
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Shahanawaz Maestro of Ceramics, Carving a Lasting Legacy in Bangladesh’s Ceramic Tapestry
In the captivating tapestry of Bangladesh’s ceramic industry, one name resonates as a beacon of creativity, dedication, and unwavering passion. That is Shahanawaz. With over three decades of commitment, Shahanawaz’s journey through the twists and turns of the ceramic sector has become a legendary one.
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Caressing The Clouds From 3,235 Feet Above in Bandarban
Bandarban is more like a complete, separate entity and a world of its own, lying gracefully and peacefully on the south-eastern part of Bangladesh. When the lethargy hits you amid the daily blues, this place can work as a whimsical healer and boost our weary souls.
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Spilling teas from Monno Tea Room
After establishing a glorious legacy of around four decades, Monno Ceramics not only made a mark in the people’s hearts but also in their households. Now that it has stretched its new endeavour into a restaurant, one must wonder if it was only organic to come up with the idea since Monno already has its hands on the core ingredient of any eatery, which is tableware!
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IAB Build Expo 2023
Once upon a time, people were unaware about the concept of green construction which refers to sustainable building or other establishments. Now a remarkable change is noticed in the construction sector of the country, thanks to local entrepreneurs, traders, and architects. Nowadays, the demand for environment-friendly construction materials including blocks and ceramic products is going up significantly.
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Economy in the Doldrums with Inflationary Pressure, Dollar Crisis
Bangladesh sees the end of 2023 with a huge deficit in its financial accounts, the widest gap between foreign currency income and expenses in its history. Consequently, the Bangladesh Bank is struggling to arrest the decline in foreign exchange reserves. This has led to a record imbalance in the overall balance of payments. The repercussions of this financial strains have extended to the commoners and made the fiscal year 2023-24 exceptionally challenging. Despite assurance from the Finance Minister in his budget speech that inflation would be contained at 5.6 per cent, average inflation rate was 9.2 per cent, intensifying the economic pressure and exacerbating the burden of soaring commodity prices on the ordinary people.
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Elevated Expressway A new milestone in communications in Dhaka
The First Dhaka Elevated Expressway (FDEE) is called a ‘new milestone’ in communications and the project is being implemented under Public-Private Partnership (PPP) arrangement to alleviate traffic congestion in and around the capital. It has already been visible after inauguration of a portion of total of 46.73-kilometre-length with ramps, including a main elevated section spanning 19.73 km in the city. Prime Minister Sheikh Hasina inaugurated the 11.5 km part of it between Hazrat Shahjalal International Airport and Farmgate section, on September 2 with the key objective to shorten the lead time for exports and imports activities. Now people can travel the Airport-Farmgate site in 10 minutes thanks to the FDEE inauguration in the densely populated city. It often takes two hours to travel the 11.5 km due to severe traffic congestion. According to the First Dhaka Elevated Expressway Company Ltd, the total of 46.73-km-long elevated expressway is covering Airport, Kawla, Kuril, Banani, Mohakhali, Tejgaon, Magbazar, Kamalapur, Sayedabad, Jatrabari to Kutubkhali on the Dhaka-Chattogram highway. The entire expressway is expected to be opened for vehicles from Tejgaon to KutubKhali in June 2024. The FDEE project involves construction of a four-lane main carriageway and one elevated link road, comprising: four-lane dual main carriageway of a total length of 19.73 kilometers. It has a four-lane dual link-road carriageway of a total length of 3.1 kilometers. 32 on-off ramps including 16 on-ramps and 16 off-ramps (one-lane carriageway of 5.5 meter width) of a total length of 23.9 kilometers with 8 toll plazas and 43 toll collection booths. Besides the main four-lane dual carriageway and two suspended termini at its ends, it has five interchanges, two elevated links. The approximate total length of the main carriageway Expressway is about 46.73 km including 19.73 km main flyover and 31 km ramps and elevated links. Dhaka-Ashulia, Dhaka-Narayanganj and Dhaka-Chittagong expressways will also be connected with this elevated expressway in future. The project is one of the largest infrastructure projects taken up by the incumbent government spending a total of Tk 13,858 crore to ease traffic congestion. Of them, the cost of Airport-Farmgate section was Tk 8,940 crore. However, the FDEE project is being implemented under the PPP process between the government of Bangladesh, represented by the Bangladesh Bridge Authority (BBA), and the Italian-Thai Development Company Limited (ITD Group), represented by the First Dhaka Elevated Expressway (FDEE) Co. Ltd. According to the authority, around 80,000 vehicles can run on the FDEE a day. Chinese firm China Shandong International Economic and Technical Corporation, one of the three private partners of the PPP project, will operate the control centre. The FDEE is offlimits to three-wheelers and motorcycles. Other vehicles run on the structure at a maximum speed of 60km per hour in expressway and 40km per hour in ramps at the beginning. BRTC bus services commenced on the Expressway. The non-stop service, which began initially, runs with eight double-decker buses from Farmgate to the Airport. Road Transport and Highways authority said cars, SUVs, microbuses with fewer than 16 seats, and trucks with a capacity of less than three tonnes will pay Tk 80 for using the expressway. Trucks with six wheels will pay Tk 320, those with more than six wheels Tk 400, and buses with 16 or more seats Tk 160. Payment is being processed through e-ticketing. Local construction industries are thriving At least 10 local companies are making and supplying materials, such as cement, steel, stone and paint, for constructing the country’s first elevated expressway. Local products in place of imported alternatives are also being used in this mega project. This is not only saving foreign currency but also building the capacity of the local companies. A major portion of the Tk 8,940 crore project is being constructed using local materials. Of the 10 local contributors, six are cement companies while two are steel makers and the others make paint and PVC products. The cement makers are: Shah Cement, Crown Cement, Bashundhara Industrial Complex, Heidelberg Cement, Seven Rings Cement and Premier Cement. The BSRM and GPH Ispat are providing steel for the project while two concerns of RFL Group — RFL Pipe and Fittings, and Rainbow Paints — are supplying necessary pipes and road marking materials. RN Paul, managing director of RFL Group, said they are providing waste and rainwater pipes and fittings for the drainage system of the elevated expressway as well as road marking materials. Mr Paul explained that if local companies do not provide the required construction materials, then they would have to be imported at the cost of huge sums of foreign currency. “So, local companies benefited and also the process helped save foreign currency through such cooperation,” he said. Till September 2023, a total of 66,000 tonnes of steel has been used in the elevated expressway project, with BSRM contributing a majority 52,000 tonnes (80%). Tapan Sengupta, deputy managing director of BSRM, acknowledged that involvement in this type of large project helps local construction material companies grow their capacity and achieve global standards. Sheikh Masadul Alam Masud, founder chairman of the Bangladesh Steel Manufacturers Association, said the local steelmaking capacity has nearly doubled to about 9 million tonnes over the past decade. Local cement manufacturers have increased their production capacity to 6 million tonnes per annum while it was 2 million tonnes annually just 10 years ago. Back to history In January 2011, the certificate authority (CA) was signed between Bangladesh government, represented by Bridges Division, the Ministry of Road Transport and Bridges, acted through Bangladesh Bridge Authority (together the “grantor”), and First Dhaka Elevated Expressway (FDEE) company limited (the “concessionaire”). The ITD, the largest construction company in Thailand, established first Dhaka Elevated Expressway Company Limited (“FDEE”) as a 100%-owned special purpose vehicle, registered in Bangladesh, to accede ITD as the concessionaire in the concession agreement for implementation of the project. The BBA signed deal with Italian-Thai Development Public Company to build the FDEE at a cost of Tk 8,703 crore in January 2011. The agreement was revised and inked again in
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Industry awareness necessary for safe, environment-friendly LPG: Omera CEO
Industry awareness necessary for safe, environment-friendly LPG: Omera CEO Uninterrupted supply of natural gas at the proper pressure is essential as a fuel for the ceramic industry. However, currently, most of the industries are not getting it timely and properly. So, the use of alternative gas is increasing. And in continuity of this, the use of Liquid Petroleum Gas (LPG) has started in the ceramic industry, though it is a bit expensive. According to Petrobangla currently the natural gas demand in the country is about 4000 million (MMCFD). Supply is 2700-2800 mmcfd. Of this, 700 to 800 mmcfd is being supplied from imported Liquid Natural Gas (LNG). There is a shortfall between demand and supply about 1200-1300 mmcfd. A large ceramic company needs at least 900 tonnes LPG a month, if it is used there. In all, around 65,000 tonnes LPG is needed in 70 ceramic companies of the country every month, if they continue production in their factories based on LPG only. The demand for increasing gradually in both ceramic and apparel industry following environment issues and energy shortage. Omera LPG now the market leader In eight years of operation, Omera LPG has become the market leader with the highest market share in the country’s LPG sector. It is known for high safety standards, consistent LPG supply round the year and excellent customer service (Hotline 16797). Omera imports LPG from the Middle East countries including Saudi Arabia and Qatar as well as the USA, and shipping it to Kutubdia of Cox’s Bazar by very large gas carriers (VLGC). Then, the LPG is transferred to smaller LPG ships (coasters) by ship-to-ship transfer. The coaster vessels make onward delivery of LPG to their plants in Chattogram and Mongla. They also sell LPG from the VLGC to other operators. Omera stores and bottles the LPG in its five plants of different locations in Bangladesh. The gas is bottled in 5kg, 12kg, 25kg, 35kg and 45kg gas cylinders. After fulfilling national demand, it is exporting the LPG to seven north-east states of India. Its sister concern, Omera Cylinders limited, manufactures LPG cylinder factory in Habiganj district. It exports to African countries. Omera Cylinders Limited is manutacturing new cylinders and retesting/refurbishing cylinders of third party LPG operators Bangladesh. Now the total import of LPG for Bangladesh is approximately 1,20,000 tonnes per month. Omera sells around 27,000 tonnes a month through retail, industrial, auto gas and export. Its group also sells LPG to other operators from the VLGC. So, in total its LPG supply to Bangladesh stands at 45,000 tonnes a month. With more than 35,000 retailers and over 5 million cylinders in residents across Bangladesh, Omera aims to cater the demand of environment-friendly LPG for all segments. LPG’s demand will double by 2030. In 2022, Omera noticed that industries were increasingly seeking energy to heat their boilers and furnaces. Then, it started a new division named ‘Omera Priority’ which brings the most secure and reliable LPG solution for an industrial heating needs. Tanzeem Chowdhury claimed, LPG price is now lower than diesel’s as the government has withdrawn subsidy on the fuel oil. Besides, the industrialists complain about not getting pipe gas properly. So they lean to use LPG. He said that LPGS price is somewhat high compared to natural gas as the government i providing subsidy on pipe gas. But now LPG price is lower than diesel/furnace oil as the government has withdrawn subsidy on diesel. The price of LPG Is Tk 107- per kg while diesel Tk 109 each litre. Besides, the price of LNG is USS 12.70/MMBTU; CNG Tk 43/cubic metre (cbm); NG (Industrial) Tk 30/cbm; NG (Captive Power) Tk 30/cbm, and Tk 130/L. If the government withdraws subsidy from pipe gas, the price will be almost same between LPG and pipe gas. However, the government should create awareness among industrialists to use safe and the environment-friendly energy. LPG is much safer than pipe gas Considering this, Omera has launched a new solution called ‘SNG. When natural pipe gas pressure drops in ceramic industry, its LPG will enter into heater through software. There is absolutely no downtime/ changeover time, so the heater will not be shut down. Now they are getting good response from ceramic manufacturers. Already they have provided the services at some large ceramic companies who are happy getting it. LPG demand is also rising in this sector. If all the companies take services from Omera, there won’t remain any gas crisis and they have that capacity to supply. LPG is safer than pipe gas line. Omera has over 5 million cylinders in residents. Very few accidents occurred in the LPG in industry till now; rather, pipe gas caused accident several times. The company conducts safety audit yearly. Clear policy is crucial for investment Mr. Tanzeem Chowdhury said, “The demand for LPG is increasing gradually, thanks to rising population and changing people’s lifestyle. Now our sale is mostly in cities but the demand is going up in village too. We want to supply our LPG secure and easily, utilising latest technology to boost market share. As we are financially strong so we have no problem of L/C opening now. But our problems are unclear policy and unadjusted price. A clear policy is needed, as to who will get natural gas (NG) and who will not. Unclear policy makes hurdles to investment. Policy is crucial for local and foreign direct investment as well.” He added that Bangladesh Energy Regulatory Commission (BERC) fixed bottled gas price (Local portion) in 2021. “But it should be adjusted with the current inflation. Some foreign companies are showing interest to invest in the sector as LPG is promising in Bangladesh.”
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Rancon’s green housing push works marvels in Chattogram
Imagine a time when greenery and what is called green growth were everywhere with the touch of green fingers. Unfortunately, we have to paint a picture in our mind to relish the green landscape of the past. Unlike in the countryside, greenery is like an oasis in the midst of concrete jungle in this time and age. Now, towns people have to escape to a distant village in the hope of relishing a piece of green nature. Greenery and foliage are fast losing out to modernity, urbanisation, and industrialisation. The port city of Chattogram is no exception. This city now abounds with bricks and mortar, stones, and concrete walls that green activists regard as a concrete jungle. If you stand on the balcony or peep through the window, it is hard to see even a piece of the sky. There was a time when a flower garden was an absolute necessity in the courtyard. Also, there used to be a fruit or vegetable farm in the backyard. However, it is time to return from the flashback to the present, as those things of the past are revisiting the urbanites through Rancon FC Properties Limited RFCPL‑. The realtor is working relentlessly to develop sustainable green structures, for both residential and commercial purposes in the port city to feed the growing customer demand for healthy and environment-friendly apartments. The city development authority has mandated setbacks in design to make the home environment healthy. If a building is designed according to the setback, it is sure to have space in front and back in proportion to the size of the land. As a result, it is possible to maintain adequate sources of light and air after the building is constructed. The RFCPL began its journey in Chattogram back in 2010 with an eye toward managing accommodation for the city’s growing population. However, the property developer changed its business philosophy in 2018 as it aspired to create innovative designs, maintain the finest building quality, and establish sustainable living through its creative green establishments.Since its inception, the RFCPL has been transforming the skyline of Chattogram with superior landmarks. It has an array of commercial and residential projects in various central locations such as Agrabad, Khulshi, South Khulshi, Nasirabad, Katalgonj, Halishahar, Mehedibagh, and Panchlaish. The real estate leader has always pledged to ‘Explore Excellence, and, as such, it has strived to keep its promise to meet clients’ expectations of an abundantly green living space. Tanvir Shahriar Rimon, CEO of Rancon FC Properties Limited, says his company attaches great importance to environment-friendly housing as the changing climate patterns, mostly due to reckless human interventions, are impacting lives and livelihoods across the world. “Our company aims to create lifestyles at all stages of the process, from design to construction and beyond. It has set the benchmark for premium commercial and residential real estate in Chattogram. The RFCPL is the optimal choice for customers’ real estate demands in the port city. Each of our projects includes rooftop solar and rainwater harvesting systems. Apart from that, the building is made only after leaving enough space as per the setback to maintain the complete system of light and air,” he pointed out. RFCPL attaches great importance to environment friendly housing as the changing climate patterns. Building temperature is less than 2.0-3.0 degrees celsius than any other buildings in the country. He added, the company is crafting the art to uphold the vertical landscape in different projects, one of their specialities and attractions. Building temperature is less than 2.03.0 degrees Celsius than any other buildings in the country, thanks to use of green materials in line with their green policy, he pointed out. Major Features of Rancon Projects Green materials and equipment, renewable energy, energy-efficient technology, automation, water recycling, rainwater harvesting, and curbing the waste of building materials are the key features of Rancon’s projects. Every unit has natural light and ventilation. A green entrance and water fountain have been set up. Many buildings have special fire hydrant facilities. In the case of any fire incident, there are two types of systems: detection and prevention. Apart from home automation systems, there is a video intercom system and 24-hour security. Wi-Fi facilities are also there in many compounds. Several elevators, as well as generators, are available. Inspace, another concern of Rancon, is designing all of the projects. Wahidur Rahman, Inspace CEO, and principal architect, told Ceramic Bangladesh that international standard design, modernity, and aesthetics have been combined in all of their building projects.Additional facilities are available for exclusive projects. Facilities include, multiple basements and open ground floors with parking, reception, waiting area, gym, prayer space, community space, driver’s lounge, and laundry. An adequate green system has been built, Mr. Rahman pointed out. Eco-friendly Projects Chattogram city has been facing various problems in recent decades, such as a lack of green space, recreational facilities, and disasters. So, the RFCPL is running a total of 23 projects related to commercial and residential schemes with its green goal. White Oak White Oak, handed over recently as a green project, boasts an exquisite oak theme and is the first of its kind in Chattogram. The rainforest welcomes a visitor at the entrance. Three different lounges were purposefully made to engage the community, while space for a gymnasium and a mindfulness zone reduce stress and have a positive impact on the mental health of the dwellers. This white structure, standing sublimely in the tranquil Mehedibagh Residential Area, has not only transformed the surrounding area but has also revolutionised the lifestyle of its inhabitants. The RFCPL’s main objective of “Creating Lifestyles” has been achieved through this holistic approach. Park Terrace Park Terrace is another project that the RFCPL has recently handed over to its sophisticated clients. It was designed to foster a sense of calm and well-being with thoughtful features that promote relaxation, focus, and connection. From the serene vertical garden and meditation place to the lush rooftop terrace spaces, they are carefully crafted to enhance
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Mahasthangarh the Cultural Capital of SAARC
At times when we get tired of the city’s dust, chaotic traffic, and hectic jobs; we might want to step outside its orbit and get some fresh air with a touch of greeneries and nature or want to get closer to history and tradition. Bangladesh, despite being densely populated country with compact horizon, still stands proud on the global map with its rich heritage and significant tourist attractions. Mahasthangarh, the earliest urban archaeological sites and the oldest-known city, is one such must-visit tourist spot for both the historians and the travelholic people. Before the birth of Jesus Christ, i.e. about 2500 years BC, the civilized town was established here. Archaeological evidence has been found. It is located in Shibganj upazila of Bogura district, lying on the western bank of Korotoa river, about 13 kilometres north of Bogura city on the Dhaka-Dinajpur highway. Once Mahasthangarh was the capital of Bengal. It was declared the Cultural Capital of SAARC in 2016. An interesting fact about Mahasthangarh is that it is also a flood-free physiographic unit because of the elevation of 15-25 meters above the surrounding lowlands, which makes it an even exquisite historical tourist spot. It is believed to be the main reason for urban development here as it is one of the highest regions in Bangladesh. The land here is 36 meters (118 ft) above the sea level, while Dhaka, the capital of Bangladesh, is only 6 meters (20 ft) above sea level. Another reason for choosing this place is the location and shape of Korotoa river. The river in the 13th century was three times wider than the present Ganga. Mahasthangarh is located in the red soil of Varendra region which is slightly higher than the alluvial region. Areas above 15-20 meters are considered flood-free geological zones. Mahasthangarh the most significant Buddhist archaeological site, was a thriving administrative, religious, and cultural centre from the Mutual Empire era to the Sen Dynasty era. Initially, the location was known as Paundravardhanapura or Pundranagara, both of which are references to the Pundra Kingdom from Indian epic literature, which was claimed to rule over a region of India, now known as Bihar. A broken limestone slab from the 3rd century BC that bears six lines in ‘Brahmi’ script has been found there with the name ‘Pundranagar’ inscribed on it. The walled city has archaeological monuments from different periods. For several centuries this place was the provincial capital of Maurya, Gupta, Paal, Sen rulers and later the capital of Hindu feudal kings. Numerous Hindu kings and kings of other religions ruled from the third century BC to the fifteenth century AD. Hazrat Shah Sultan Mahmud Balkhi (RA) and his disciples came to spread Islam in this area. There is an amazing legend about the preacher Shah Sultan Balkhi. It is said that he crossed the Korotoa river on the back of a huge fish-shaped boat while entering Mahasthangarh i.e.ancient Pundranagar. The famous Chinese traveler Hiuen Tsang visited Pundranagar between 639 and 645 AD. In his travelogue he describes the nature and lifestyle of the time. Being famous for Buddhist education, monks from China and Tibet used to come to Mahasthangarh to study. Then they went out to different countries in South and East Asia. There they spread the teachings of Buddhism. The topography of the place offers a fascinating cubicle-like view. The entire area is surrounded by a fortification wall. The rampart of the city, built with burnt bricks, belongs to six building periods, among which the earliest belonged to the Maurya period. Various mounds and monasteries (bihar) are scattered throughout the vast area outside the fortification wall including Bairagir Bhita, Govinda Bhita, Khodar Pathar (stone of Allah) mound, Mankalir Kunda mound, Jiyut Kunda (Well of Life), Godaibari Dhap, Noropotir Dhap, Gokul Medh (Lokhindorer Bashor Ghar), and Bhasu Bihar. One of the highlights of Mahasthangarh is Govinda Bhita, where remnants of two Buddhist temples can be visited. Opposite Govinda Bhita, near the north side of the citadel, one can find the Mahasthan Archaeological Museum. The museum, though small, has a well-maintained collection of pieces recovered from the site including the statues of Hindu and Buddhist gods and goddesses, terracotta plaques, fragments of ceramics, well-preserved bronze images found in nearby monastery ruins that date back to the pre-Paal period. Gokul Medh Buddhist monastery, located about two kilometers south-west of Mahasthangarh, belongs to the most impressive archaeological sites in this area. Behula Lakhindorer Basor Ghor Behula is the protagonist in the Manasa Mangal genre of Bengali medieval epics. A number of works belonging to this genre were written between the thirteenth and eighteenth centuries. Though the religious purpose of these works is to eulogise the Hindu goddess Manasa, these works are more well known for depicting the love story of Behula and her husband Lakhindar.
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MIR CERAMIC Dominates The Quality Tiles Market
Mir Ceramic Limited (MCL) is one of the largest, prominent ceramic and porcelain tile manufacturers in Bangladesh. The most trusted tiles manufacturer was founded in 2001 and began commercial production in 2002 with the globally acclaimed Italian brand SACMI’s state-of-the-art machinery, widely acknowledged as the best ceramics manufacturing equipment provider in the world. Mir Ceramic is a proud member of Mir Group of Companies, one of the oldest and highly reputed conglomerates in Bangladesh. The Group began its journey in 1968 as Mir Akhter Hossain Limited (MAH), the iconic construction company in Bangladesh. The group has diversified into real estate, banking, telecommunications and ICT industries. Mir Ceramic produces a range of high-quality products such as porcelain tiles, ceramic wall tiles, granite floor tiles, homogenous stair tiles, and industrial tiles. One of their most popular products is the Mir polished tiles, which are renowned for their exceptional durability and smooth finishing. It has a production capacity of 90,000 square meters of tiles per month. Proudly promoting ‘Made in Bangladesh’ with a combined workforce of 2,000 local craftsmen and artisans for manufacturing. Mir Ceramic Ltd prides itself on its commitment to quality and customer satisfaction. With a team of experienced professionals and the latest technology, they strive to deliver the best possible products to the customers. The company is constantly innovating and expanding its product line to meet the changing needs of the market. Skilled Manpower, Innovation, World-Class Machinery and Raw Materials are behind the Success As one of the leading ceramic and porcelain tile manufacturers, Mir Ceramic Ltd has established a strong reputation for excellence in the industry. Its products are highly sought after by builders, architects, and homeowners alike, who appreciate the quality, durability, and style that the company delivers. Mir secures the highest quality raw materials from across the world, including Spain, Italy, Malaysia and Thailand. MCL has assembled an expert production team, with decades of experience in the industry, to oversee manufacturing. As a result, Mir Ceramic produces tiles with the highest bending strength and lowest water absorption in Bangladesh. Consistently producing superior quality tiles for over so many years has helped establish Mir as a dominant player in the upscale tiles market in Bangladesh. Mir Ceramic’s vision is to create a world where those who won’t settle for anything but the best can proudly use tiles made right here in Bangladesh. MCL is committed to producing the strongest and longest lasting tiles in the country by continually adopting the latest manufacturing technology and sourcing the very best raw materials from around the globe. MCL takes a customer centric approach to product development, by continually engaging customers and technology partners to develop products that meet the evolving needs of the discerning clients. MCL aims to achieve growth while continuing to be environmentally responsible. To achieve this, the company continually leverage the latest technologies to increase the efficiency of manufacturing and energy generation processes and captures and reuses energy, waste raw materials and water. Manifold regulations are key hurdle for local and foreign investors “Once the use of ceramic products in Bangladesh was comparatively low. This was due to low purchasing power of people and high cost of ceramics products at the time. Earlier, the country was heavily dependent on imports spending huge amounts of foreign currency. This inspired the Group to enter the tiles manufacturing business in 2001. By producing tiles locally, we saw an opportunity to not just to reduce import dependency but also value add and create well-paying jobs,” Ruslan Nasir, Deputy Managing Director of Mir Ceramic Limited (MCL), told the Ceramic Bangladesh magazine. He said, once upon a time, there were only a handful of companies producing tiles in Bangladesh. Most tiles produced locally were unable to meet international standards. Mir Group established MCL with a clear objective: to make the strongest and longest lasting tiles in Bangladesh. Since its inception, Mir Ceramic has utilised Italian manufacturing equipment. MCL secures only the highest quality raw materials. Ruslan Nasir said, “Mir has played a pioneering role in the manufacture of quality tiles by being the first local company to utilise European machinery. From day one, we were very serious about the quality of our products. This helped establish Mir as one of the largest and most trusted tiles manufacturers in Bangladesh. Till date, Mir Ceramic is the only ceramics company to be awarded the prestigious President’s Industrial Development Award.” “However, the company faced many challenges in the early days. One of the greatest challenges was the lack of skilled manpower at that time. Mir invested heavily in skill development, through a combination of hiring workers with international experience and hiring foreign trainers to develop local talent. Skilled manpower development, combined with world-class machinery and raw materials, helped Mir Ceramic bring tiles of international quality to the Bangladesh market.” In the last 10 years, the ceramics sector in Bangladesh has experienced phenomenal growth. Today, locally made high-quality ceramic products are more readily available in the country. Recent studies reveal that local capacity is now capable of fully meeting the demand and accounts for over 80% of local consumption. Local manufacturers are benefiting from economies of scale thus driving down prices. This has made locally made ceramics products affordable to a larger segment of the population. As a result, the ceramic sector in Bangladesh has grown 200% in the last decade, creating 60,000 jobs directly in the process and 5,00,000 indirectly. Founder of Mir Ceramic Ltd. and Managing Director, Mir Nasir Hossain is a leading business figure of Bangladesh. He has served as President of the Federation of Bangladesh Chambers of Commerce and Industries (FBCCI), the apex trade organisation. He established Mir Ceramic with a clear objective of producing the strongest and longest lasting tiles in Bangladesh. As Managing Director of Mir Telecom Ltd., Mir Nasir Hossain has received the National Export Trophy (Gold) from the Prime Minister of Bangladesh on multiple occasions. However, the industry has faced significant challenges in recent times which could threaten
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Chuti Resort An Escape from Chaos
‘Chuti’ is a famous juvenile poem by Nobel Laureate Rabindranath Tagore. Bengali ‘Chuti’ means vacation, rest. Take a break from busy work. Some time to laugh, play and enjoy. The Chuti Resort was built from that spirit. If you are looking for an escape from the hustle and bustle of city life and to immerse yourself in the serene beauty of nature, Chuti Resort can be your perfect destination. Nestled beside shimmering Lakes, Chuti Resort provides an idyllic backdrop for a rejuvenating getaway. It is dedicated to offering a top-tier eco-friendly lifestyle experience in Bangladesh. Situated near Bhawal Rajbari, 18 kilometers from Dhaka Airport, this resort is in Sukundi village on the eastern side of the Gazipur, a meagre three-kilometre from the renowned heritage site Bhawal Rajbari and Bhawal National Park. Conveniently accessible by road, it takes approximately 1 .5 hours to reach the main destination from Dhaka. Spanning 17 acres of lush greenery, Chuti Resort is committed to highlighting Bangladesh’s rich natural and cultural heritage, promising guests unique and authentic experiences. As one embarks on a journey through this resort, s/he can explore the myriad features and amenities that make them truly exceptional, from serene Lake and inviting decks to whimsical treehouses, engaging Kids Zones, refreshing swimming pools, and luxurious suites. Breath taking views of surrounding lake water and wildlife in amazing natural beauty of land covered with dense green blanket of flora makes anyone feel like enjoying the country’s natural heritage. In this peaceful and tranquil environment, you can have the glimpse of wildlife, firefly processions at night and according to the rules of the resort, during moonlight no light is lit in outside. It is one of the best holiday destinations to enjoy the full moon and rain in the rainy season; also to breathe in the fresh air. Central Lake is the heart and soul of this resort, serving as a serene focal point that encourages relaxation and reflection. Chuti Resort is nestled at the center of a forested oasis and the lake creates an atmosphere of tranquility. Guests can enjoy the gentle symphony of croaking frogs and chirping crickets as they sip their morning coffee on the deck of their cabin or lounge peacefully beside the water’s edge. The lake also provides opportunities for a variety of activities, such as catch-and-release fishing, where guests can try their hand at landing a variety of aquatic species, adding an element of adventure to the serene landscape. Eco-Friendly Boutique Resort Chuti lodges facility that takes steps to reduce its carbon footprint while giving back to its local community. Some of the best ways that they practice to make the resort more eco-friendly and sustainable, maintain energy saving, limit water waste, have guests reuse linens, equip staff with eco-friendly cleaning staff, serve local and organic food. “Accommodation in nature resorts is thoughtfully designed to offer guests an immersive experience while ensuring maximum comfort.” Advocate Mostofa Mahmud Arifee, the chairman of Chuti Resort said adding, “Perched near lakes, these enchanting sanctuaries offer a one-of-a-kind connection with the natural world.” There are 50 rooms with several types of accommodation facilities such as Cottages, Royal suites, Villas with luxurious bathrooms, and private decks with breathtaking views of the surrounding landscape. Falling asleep to the rustling leaves and waking up to the melodic songs of birds is an unforgettable experience. Families with children are warmly welcomed at nature resorts, where they have dedicated Kids Zones designed to engage and entertain the youngest guests. These imaginative spaces are created to introduce children to the wonders of the outdoors in a fun and educational manner. Playgrounds, nature-themed activities, and hands-on programmes encourage kids to explore, learn, and develop a deeper appreciation for the environment. There is a treehouse making a favourite space for kids to play and spend time. It’s in these Kids Zones that young adventurers can discover the thrill of discovery and the joy of connecting with nature. Chuti Resort’s allure is further enhanced by the inviting swimming pool. This refreshing facility provides guests with a cool respite on a sunny day, inviting them to relax and rejuvenate amidst the beauty of the natural surroundings. After a day of basking in the tranquility of the outdoors, a dip in the pool is the perfect way to unwind and savour the memories created throughout the day, adding an extra layer of luxury to the experience. Advocate Mostofa Mahmud Arifee Chairman, Chuti Resort When it comes to dining, Chuti Resort offers farm-to-table experiences that celebrate the flavours of the region. Fresh, locally sourced ingredients are transformed into delectable dishes that are as much a feast for the eyes as they are for the palate. Guests can indulge in culinary delights while dining al fresco on outdoor decks, where the soft babbling of the nearby pond and the gentle rustling of leaves create a harmonious symphony of sensory delight. The experience is further elevated by the opportunity to dine under the stars, adding a touch of enchantment to every meal “In Chuti resort we provide Pleasant for couples and families, corporate meetings and workshops, Cottages, and suites to accommodate Modern restaurants serving delicious foods and Authentic recreation in a village environment,” Advocate Mostofa Mahmud Arifee mentioned. Chuti Resort is a magical sanctuary where guests can disconnect from the pressures of the modern world and rediscover their profound connection with the natural world. Whether one is basking in the serenity of a picturesque pond, finding enchantment in a luxurious treehouse suite, watching children explore the imaginative Kids Zone, taking a refreshing plunge in the inviting swimming pool, or savouring farm-to-table dining on a scenic deck, this resort offers a tapestry of experiences that pay homage to the beauty of nature. Chuti Resort serves as a reminder that in our busy lives, the wonders of the natural world are always ready to embrace us, providing solace, adventure, and a deep sense of wonder that leaves an indelible mark on our souls.
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AKIJ CERAMICS BRINGING PERFECTION
Ceramic Expo Bangladesh, 2022 was a magnificent event for the Ceramic Industry with participation of all the key players in the ceramic market. It was an event for business interaction and social gathering of the ceramic industry that brought all the ceramic manufacturers, foreign raw material suppliers, importers, buyers, dealers, architects and common visitors under a single roof to enjoy a world class exhibition experience and see state-of-art ceramics. It was a 3-day-long celebration of the exhibitors and visitors to explore the ceramics world. With the tagline ‘Promise of Perfection’, Akij Ceramics Ltd. patronised the 3rd Ceramic Expo as the Principal Sponsor. The company had sponsored the event for the 3rd time in a row which was a grand event of the ceramics world in Bangladesh. The largest ceramic brand of the country showcased its tiles, tableware and sanitaryware in the event. Under the name of Akij Ceramics the company displayed its tiles under Akij Ceramics & AURA, tableware under Akij Tableware and sanitaryware products under the brand of ROSA in their pavilion at Hall 4 of Novoratri at ICCB. They showcased all the new innovation and products to attract their customers and make them aware of their product range. It was a great opportunity for the organisation to showcase all of their brands under a single platform and interact with their business partners, suppliers, dealers and fellow companies under the same industry. With the gracious presence of 23,000+ visitors the event has positively impacted on the business. In the event of Ceramic Expo, the prime goal of Akij Ceramics was to bring the new products of all the tiles, tableware and sanitaryware segments. The company is looking forward to reducing import of ceramic products by boosting economic growth and development of the industry. The iconic business leader of AkijBashir Group, Mr. Sk Bashir Uddin along with the brand managers and company representatives were present at the event. The Pavilion was the biggest of all and they had decorated it with their products to present to the target customers and created their own unique impression among the crowd. All the visitors were mesmerised with their product collection and variety and also interacted with the company people present there. Mr. Mohammed Khourshed Alam, Director Operations of AkijBashir Group, expressed enthusiasm about ceramic expo in an interview and their expectation from the overall event was to show their brand strength and collect feedback from the customers. To connect with the visitors more actively, Akij Ceramics provided special offers on spot orders in the expo, instant gift packs and also provided gifts for the social media contest winners. At the event famous celebrity actress Bidya Sinha Saha Mim graced the event with her presence on the second day of the expo. The visitors had enjoyed the meet and greet session with Bidya Sinha Saha Mim and she enjoyed her visit to the pavilion and explored products of Akij Ceramics to explore uniqueness of the brands to promote the best products of the company. In the Ceramic Expo Bangladesh, 2022 under the category of best pavilion, Akij Ceramics Ltd. was awarded with second prize on the Exhibitors Night in the Jury Board Choice Award. The award was presented based on well scale, openness, visitor friendliness, product display etc. Akij Ceramics always believes in perfection that comes with the impression of revival, renewal and diverse innovations in their product design, quality, elegance and uniqueness. It was a great experience for them to become the principal sponsor at the event and explore new business opportunities along with world class experience of displaying ceramic tiles, tableware and sanitaryware to the visitors of home and abroad. AkijBashir Group thanked BCMEA, organiser of the event for such an impressive arrangement of the event and expects to have even better event arrangement in upcoming years. Written by Preety Dey
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How bKash Empowers People Thru Financial Inclusion
bKash, a mobile financial services (MFS) provider in Bangladesh, is operating as a subsidiary of BRAC Bank Limited, under the authority of Bangladesh Bank. bKash has been providing fast, secure and convenient services via mobile phone to its more than 70 million verified customers for the past 12 years, authorities say. These customers transact more than Tk 20 billion every day. Only recently, people had to wait in long queues in the morning just to pay utility bills. And almost no financial services could be accessed from home comfortably. However, gone are those days, thanks to MFS providers like bKash. Now, millions of people no longer need to worry about paying bills or fees, doing savings, taking small loans or even receiving remittance from abroad – all these are now a matter of a few taps. MFS has evolved into a common platform for availing various financial services. As a result, the hassles people used to face earlier while seeking financial services are now considered a thing of the past. Financial services have reached the fingertips of people from all strata, making life easier. The dependence on digital transactions thereby increased manifold. It’s not just a means of sending money or paying bills anymore. It has become a complete financial service platform with a variety of financial products including merchant payment, savings, nano loan, remittance from abroad, bill payment and mobile recharge. It has become a part of lifestyle. bKash is now a member of every family in weal and woe. Though some other MFS providers have launched similar services, the term “bKash me” in the MFS arena is now the word of mouth that simply denotes money transfer. In its 12 years journey, according to the authorities, bKash has built the strongest network of 3,30,000 agents, commonly called as “Human ATMs” to take mobile financial services to the doorsteps of people in every corner of the country. These agents have not only succeeded in serving customers, but also been able to improve the living standard of their own families. Other MFS operators who came later, took leverage of this distribution channel established by bKash to reach customers. Bangladesh Bank, the regulator of this industry, has had proper guidance and policy support to help MFS flourish and become customers’ trusted partner for daily transactions. Besides, bKash’s service quality, continuous investment and innovation played pivotal role in garnering the trust of custromers. Of its 70 million user base, more than 45 per cent customers are female. Customers can avail its services such as cash deposit, cash withdrawal, money transfer, top-up, remittance, mobile recharge, payment and bill pay by dialing *247# and using Bkash app. To open an account a customer has to fill the prescribed customer registration form (KYC) with complete details. If the money goes to the wrong number it should be reported to 16247 immediately. bKash started operating as an MFS provider under the license of Bangladesh Bank on 21 July 2011 to cater financial services through mobile phones. Catering to people’s daily transactional needs with secured and time-saving solutions, bKash is empowering them to fulfil their dreams as well as taking the country forward During this time, bKash has brought the unbanked and underserved population into financial inclusion. Be it from a remote village or a small village market or a trading centre, a large number of customers has been connected to the formal financial channels through bKash. Currently, a total of 44 commercial banks are connected to the largest bank integration network of bKash. Thanks to seamless money transfer between bKash and banks, customers’ experience has radically changed, the authorities told the Ceramic Bangladesh. Earlier, going to a shop was the only way of recharging mobile phone numbers. In the span of an era, topping up all operators’ mobile numbers through bKash has become the most preferred way for millions of people in Bangladesh. A mountain of hassles for paying just a small amount of utility bill was a common place before. Now bKash has made all kinds of utility bill payment for electricity, gas and water easier for the common people. Besides, fee payment of many government services has become a matter of a few taps, they said. Since 2017, bKash has successfully disbursed allowances and stipends to around 10 million beneficiaries of many government initiatives and safety net programmes including primary education stipend, the Prime Minister’s Covid-time financial assistance, farmers’ incentive allowance under the Ministries of Agriculture, Fisheries and Livestock, maternity allowance, the Ministry of Disaster Management and also the salary, allowances and incentives of workers of the export-oriented industries. Bangladeshi expatriates from around 90 countries can send remittances through 80 international money transfer organisations via settlement in 17 local commercial banks. In 2022, nearly Tk 40 billion worth of remittance came to Bangladesh through bKash. Savings through bKash has also become very popular among the people. So far, around 1 .1 million customers have availed the savings schemes through bKash app. The hassles to save small amount of money is now gone due to such service. Not only ‘Savings’, digital nano loan can also be availed through bKash app. bKash, in association with The City Bank, introduced the country’s first-ever Digital Nano Loan in 2021. With this innovation, eligible bKash users can avail a loan ranging from Tk 500 to Tk 20,000 through bKash app. In the meantime, digital loan of Tk 3 billion has been given for a period of 3 months. bKash services save times, relief hassles Proprietor of M/S Taqwa Ceramics at Hatirpool Mohammad Zahid Hossain said, “Many customers want to make payment now after purchasing ceramic products through bKash as it saves their time and reduce other hassles. At the same time, it saves us from risk of handling counterfeit notes.” The digital transaction in business and other payments is going up day by day. As a result, the demand of bKash services increased as well. Another trader, Imran Hossain, manager of Ammar Sanitary of Bangla Motor, said they
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Thai Emerald Dhaka A Myriad Of Browns And Blended Greens
It’s a cosy Thai restaurant that transports one into the cultures and feels of Thailand through its rustic approach and earthy colour palette. So, be prepared to feel the vibes of Thailand and enjoy the warm atmosphere with a great dining experience. Most people know Thai Emerald as a go-to place to enjoy good Thai cuisine. Since its inception in 2012, Thai Emerald has strived to bring the flavours of Thailand to Dhaka – from Uttara to Gulshan to Dhanmondi – through its design and food. It has progressed over the years. Architect Rafia said their goal was to reflect the food served and the geographical setting of the restaurant while making the design. During the design of this restaurant, she used furniture and earthy tones similar to what she did with other restaurants to connect the brand and have a sense of reconciliation with the other two restaurants in town. A few of the dining chairs and the reception table and cash counter with the lotus motifs were elements that she had replicated to harmonise it with its predecessors. The wooden blocks situated on the backdrop of the cash counter pay homage to the second branch of Thai Emerald situated in Gulshan. The space was designed with efforts to keep the restaurant spacious to better accommodate large groups of people that frequent the restaurant. This was further highlighted by creating soft visual partitions through perforated separators or more solid partitions that allow big groups to co-exist with individuals or small groups while dining simultaneously. The architect wanted the diners to have elements to explore while dining at the restaurant – large cluster of doors separating private rooms, mirrored backdrops, or lamps hanging from the walls. The diners would have unique visual characteristics to ponder. She envisioned that people should be able to properly enjoy their time there. Thus, her goal was to create a warm, inviting ambiance with a play of dimmed, hand-crafted lights and splashes of earthy tones to create a soothing, delightful atmosphere for the customers. A focal element for this particular restaurant would be the doors, enclosing the private rooms, designed to be a point of attraction. “The reflection of Thailand is brought in through elements; for example, the lotus motifs in the door handles are a direct reflection. If you see Thai design, you’ll notice the use of softer lines rather than harsh straight lines, which have been reflected in the use of curved lines in the door details with softer, rounded edges,” the architect explains. Designing the small doors and playing around with the depth and lines was an interesting element that she loved when working on the restaurant. The architect wanted the doors to intrigue onlookers instead of having a dead space with boring partitions. In keeping with modern, contemporary design, the perforated partitions are made of sleek frames and thin lines to have a stylish outlook. A lantern of ‘Beth and Chatai’ was carefully designed and crafted in the escalator zone near the entry to give passersby and incoming guests a taste of what unfolds inside. The lantern, which was a focal point, was an experimental design by the architect to challenge the bounds of what could be made with flowy waves instead of the traditional circular design. The architect also worked with multiple local artisans to create custom-designed hand-crafted lights and chandeliers made of local materials like cane, wood, bamboo, and beech. The service corridor is lined with basket-shaped hand-woven lamps that lead people into the restaurant. A mix and match of kerosene wood, gorjon wood, and plywood were used to form the wooden elements displayed in the restaurant. An essential portion of the design was focused on creating a curated colour palette of browns and greens with a touch of grey to avoid having any harsh colours and instead opt for a homogenous, complimentary, soothing colour palette. The earthy tones are further accentuated by using browns that have grey undertones so that the overall output looks well-groomed. Grey texture paint was used to highlight a wall; it includes a chamfered rectangular punch that allows a visual connection with the service corridor. “We decided, deliberately, not to use any blinds on the windows; I want the existing floor-to-ceiling windows to let in ample daylight during the day so that customers can enjoy the sun, and it also gives a spectacular view of the city during the night, “the architect said when asked about keeping the floor-to-ceiling glass windows open. She added that they have not yet had any problems regarding heat gain from the facade. A signature personal style that the architect incorporated into the design was variation in designs of the door knobs used extensively throughout the space. Starting from the door handles of the private rooms, they feature lotus halves, so when closed, they form a full lotus. The door handles were placed much lower than the standard height to create a varied look when all the doors are closed together. The door handles of the restaurant doors have linear wooden handles on glass doors, and the toilet door handles are curved inward to create a unique motif. The restaurant of Dhanmondi, too, has two entrances to cater to both lifts on opposite sides leading to the restaurant floor, a fact unique to this restaurant. The ceiling is left open to have a modern industrial feel and is painted grey to match the vibe of the restaurant, with only a thin red line of the sprinkler system showing up on the ceiling as a touch of colour in accordance with the building safety regulations. A large painting of an elephant is hung on one of the feature walls as an homage to not only the heritage of the restaurant but also to tie bits of Thai cultural elements into the atmosphere. As you enjoy dinner with a loved one in this bustling restaurant, it is possible to have an immersive Thai food experience with plenty of laughs and
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One Journey, Three Companies CEO in 18 Years
A nonhereditary succession of a man who dedicated his career to ceramics, an insider’s view on this patron’s journey, and some heart-rending moments taken as life lessons. From being a brand development executive at Shinepukur Ceramics to becoming CEO of Artisan Ceramics Ltd., M. Mamunur Rashid has walked down almost every road and tackled countless challenges, making him the ceramic leader he is today. To treasure these experiences in our gallery, Ceramic Bangladesh recently had the opportunity to sit with him. “Culturally we’ve all had ceramics and earthenware infused into our lives from childhood,” said Mr. Rashid, whose story is similar- his father Mr. Mohammad Ali at Habib Bank in Pakistan when Mr. Rashid was introduced to beautiful Japanese tableware. “I still remember my father’s collections. The ceramic body was crackled and the flowers on them looked like mosaics. We played with those, and even broke a few,” he said. His family returned to Bangladesh a week before the liberation war started and his father joined Janata Bank. Upon completion of M.Sc from Dhaka University, Mr. Rashid joined Shinepukur Ceramics Ltd, a BEXIMCO Group concern, and started his ceramic journey. Looking back Mr. Rashid toiled seven and a half years with Shinepukur, and the same amount of time with FARR Ceramics. He is now the CEO at Artisan for five years. Here is his ceramic journey in brief: While a novice Mr. Rashid started his career at Marketing section of Shinepukur Ceramics in 1999. Under the mentorship of Mr. Mahmudur Rahman, he contributed to establishing the International Ceramics Tableware Brand “DOEL” in the Indian market. He also worked closely with company Vice Chairman Mr. Salman F. Rahman. “I was a senior executive, but I was selected to work with him directly,” he said. The first job taught Mr. Rashid a lot about marketing and brand development. 7years with Tableware Mr. Rashid joined another ceramic tableware company, FARR Ceramics, during its inception in 2007. It then was introducing the newest technology. However, Mr. Rashid realized that his colleagues had the impression that FARR’s technology would fail. People apprehended that Open Firing was risky! The firing system was much faster, and about 30% fuel efficient – a factor which reduces cost of production. FARR’s technology still succeeded, and the Germans had to come in with similar technology and result-driven evidence to convince other companies to adopt it. Mr. Rashid recalled, “MD of FARR (late) Mr. Iftekhar Uddin Farhad always knew how to pick the right person consider the man my idol because of how well he understood people.” An export miracle Mr. Rashid was put under a lot of pressure on the second or third day of joining FARR Ceramics. Mr. Farhad asked him for a new export client in a week. He took up the challenge. He knew he had to reach out to the most approachable international connection he could find, a company that trusted him, and henceforth, would be easier to sell to. He invited some clients from Delhi on a subsidized trip to Bangladesh. They were convinced seeing the products quality and the technology, and ordered a size of two containers. All this happened within 28 days of Mr. Rashid’s joining. “Mr. Farhad told me, ‘You saved me! I invested a lot of capital in machineries,” Mr. Rashid said. Sky is the limit An adventurous soul, Mr. Rashid was looking for a more suitable place to unleash his full potential. His colleague from BEXIMCO, the CEO of Artisan Ceramics a concern of Finlays by this time, brought him in as a general manager in 2016. Realizing that the product designs needed to change for the international market, he worked with the R&D team, innovated, and redesigned Artisans products in keeping with global trends. The company came in second for the National Export Trophy in FY2018, winning the trophy 4 times in the following years consecutively. This was possible due to unconditional support and highest level of cooperation extended by the honorable Board of Directors and iconic business personals of Finlays. Artisan ceramics has seen 3.0 times expansion. It has a capacity of producing seven tonnes of 100% pure porcelain tableware, and is selling to clients in most of the continent like: Europe, Asia, USA, and some North & South American countries. Mr. Rashid believes secrets to Artisan’s success are the superiors who never intervened, quality, and customer relationship. “I cherish relationships and always put effort into them and it has paid off so far,” Mr. Rashid added. Deep diving into Mr. Rashid’s business philosophy: 1. Mr. Rashid sells trust and assurance, both of which he highly values. 2. To retain customers and get referred, there should be after sales service. 3. A company needs to adapt with the ever-evolving trends. Senior employees in the industry sometimes have a hard time changing their old ways- they need training and habituation. 4. You have to unlearn certain ways and be open to relearning, that’s adaptation. 5. “We have exceptional manpower; we need to train them. Our international rivals cannot compare manpower with us because our manpower is available and competitive.” A quick-fire round: When asked ‘what is the biggest hurdle you’ve faced in your life?’, Mr. Rashid said changing his Job was the biggest hurdle. To gain his expertise in marketing and production, he spent a lot of time in the factories learning every bit of the trade. “A marketing guy should be able to look at a product and know it’s worth,” he said. “S/he should be able to derive what s/he want from simple instructive annotations.” With hobbies to collect stamps, reading and travelling, his passion now is ceramics and dream that this sector will grow boundlessly. “If the government supports more, they can do even better for the country,” he added. He likes vocalist James and is close to Azam Khan’s circle. Ayub Bacchu is also a personal favourite. He reads stories of CEOs and enjoys reading people’s experiences. End of quick fire Ceramics goes through
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Is Bangladesh’s Economy at its Peril
Import dependency in energy sector increasing foreign exchange crisis One persistent issue that continues to affect the Bangladesh’s economic landscape is inflation. Inflation, the rising cost of goods and services over time, poses a significant challenge to both low-income households and industries alike. Recent data from the Bangladesh Bureau of Statistics (BBS) paints a grim picture: Food inflation has rocketed to 12.54 per cent, its highest in 11 years, pushing countless households into financial uncertainty. Concurrently, Bangladesh’s foreign currency reserves have plummeted $1.62 billion within 20 days, a staggering decline from $23.06 billion foreign exchange reserves recorded at the end of August. Fueled by a decline in remittances, stagnant exports and increased import pressures, these economic tremors have created certain economic uncertainties. Understanding Inflation Before examining the effects of inflation, it’s crucial to understand the factors driving it. In Bangladesh, inflation is now driven by cost-push factors such as increased producer spending and rising electricity and gas prices, particularly fuel oil, transport and also corruption cost with volatile exchange rates and dollar crisis. In recent years, Bangladesh has experienced an upward trend in inflation rates, affecting the lives of millions. Disproportionate Impact on Low, Fixed-Income Groups Almost all people of limited income and lower middle class, middle-class families are bearing the brunt of the pinching inflation as their earnings often fail to keep pace with rising prices. These households find it increasingly challenging to afford basic necessities. The burden of inflation extends to housing, education, healthcare, and transport. High inflation has been prevailing in the country for a long time. However, the situation has worsened in recent times, as shows government statistics. Another major problem with the inflation is worker unrest. This in turn increases the pressure on the wages of the workers and consequently increases the cost of production. Which increases the price of the product and ultimately reduces the demand. Surging Food Inflation 11-Year High The Bangladesh Bureau of Statistics issued an inflation update on September 11, revealing that food inflation had surpassed 12.5 per cent. The BBS data indicated that food inflation reached 12.54 per cent in August. The last time food price inflation had risen to such height was in January 2012 when it reached 12.73 per cent. Notably, food inflation entered double digits for the first time in a decade in August of the previous year, according to BBS and Bangladesh Bank data. In BBS’ calculations, headline inflation climbed to 9.92 per cent in August, marking a shift from two consecutive months of decline. This places the inflation rate on the brink of touching 10 per cent. In July, the food inflation stood at 9.76 per cent but surged to 12.54 per cent in August. Non-food sector inflation in August was recorded at 9.92 per cent in the month. Is Bangladesh’s Foreign Currency Reserve in Jeopardy? Bangladesh’s foreign currency reserves continue to face pressure, due primarily to the central bank’s dollar sales to cover essential imports. A decline in remittances has further strained the Bangladesh Bank’s reserves, which dropped $1.62 billion within the last 20 days, as reported on September 21. This decline is notable considering the reserves were over $23.06 billion as of August 31, now decreased to $21.45 billion. During this period, a significant payment of $1.31 billion to the Asian Clearing Union (ACU) for July-August imports played a role in diminishing the reserves. Additionally, a 13 per cent decrease in remittances over July-August, along with the necessity of providing dollars to commercial banks for loan settlements and import bills, has impacted the reserves. The central bank regularly sells dollars to various commercial banks to meet diverse expenses, particularly import costs. Moreover, a part of the foreign currency earned from exports and remittances directly contributes to the reserves. Foreign loans also directly bolster the reserves. However, the recent drop of $1.62 billion in foreign currency reserves can be attributed to these combined factors. How ceramic sector affected by higher inflation? The ceramic sector is grappling with significant challenges due to rising inflation and fluctuations in the exchange rate. Being an actively involved participant in international trade, Bangladesh’s economy is intricately linked with exchange rates, influencing economic activities and inflation by altering the prices of domestically produced goods and services. In the ceramics industry, a substantial portion of raw materials required for production is imported, necessitating heavy reliance on foreign currency. The Bangladeshi Taka has depreciated by 30 per cent against the US dollar since the last quarter of 2021, escalating material costs for the ceramics industry and directly impacting operational expenses. Furthermore, Bangladesh faces a local annual inflation rate more than 10 per cent, compounding challenges for the ceramics business. Increasing costs of imported raw materials, combined with domestic inflation, higher electricity and fuel price, transportation costs, high interest and exchange rate, pose significant hurdles to the sector’s profitability and sustainability. Additional pressures come from a recent 126 per cent increase in gas prices and gas rationing. But it has not been possible to adjust the price of the finished product accordingly. Various disruptions, including raw material price rise, global recession risks, shortages in raw materials and logistics capacities, global labour scarcity, and energy shortages, have disrupted the entire supply chain. Consequently, ceramic industry production has been severely affected. Md. Mamunur Rashid FCMA Senior Vice President, BCMEA Additional Managing Director X-Index Companies In the light of these challenges, Md. Mamunur Rashid, Senior Vice President of BCMEA and Additional Managing Director of X-Index Companies, suggests that the government should encourage foreign direct investments in the industry in economic zones. He recommends continuing tax holidays for a minimum of five years to support the sector. Additionally, he advocates measures against unfair trade practices such as under-invoicing of imported tiles to safeguard the interests of entrepreneurs in the ceramic industry. Mr Mamun emphasises the need for research and development efforts to economise on energy costs and calls for appropriate and adequate training programmes to develop a skilled labour pool in the sector. These
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Memory Eternal In Remembrance of their sacrifice
Military convoys were heard marching through the Dhaka University campus roads at night on 25 March 1971. Three heavily weaponised regiments – the 18th and the 32nd Punjab, and the 22nd Frontier Force– entered through the north, the south, and the east. A massacre was unfolding! The ground pads of their tanks grinded with the asphalt as they entered, rifles cocking and loading. The attack was directed towards the intellectuals and the nationalists. Operation Searchlight, as it was infamously known to be, targeted the Dhaka University that night. The whole night swept across like a blood-stained hurricane, dark and gore. Intellects and teachers such as Professor Anwar Pasha, Professor Gobindo Chandra Dev, and Professor Jyotirmoy Ghuha Thakurta were, among others, lost. At around 12’o clock, Jahurul Haq Hall and Jagannath Hall were attacked with mortars and continuous firing, as many as 34 more were killed. The martyrs included the staffs of the university. On that dreadful night, Bangabandhu Sheikh Mujibur Rahman was arrested. Next day, Major Ziaur Rahman proclaimed independence of Bangladesh from Chittagong on behalf of Bangabandhu. And on 10 April, a provisional government was formed in Baidyanathtala of Meherpur. Bangladesh fought back and eventually came out victorious. After massacres and a nationwide uprising, about 93,000 Pakistani troops surrendered to the joint forces on 16 December 1971. The Memory Eternal The University of Dhaka was the heart of the rebellion that contributed to the birth of the nation-state. The students remember passingby, and almost every time, being driven by compassion to lay their inquisitive eyes on the canopied patch of elevated platform that held the memorial. Names of the teachers, students, and staff of Dhaka University who were martyred on the 25 March, were memorialised in 1995 first, on what is known as The Memory Eternal. Located infront the Dhaka University Vice Chancellor’s Bungalow and at one end of Fuller Road, the Memory Eternal consists of rectangular concrete slabs and terracotta designs with poems and clay murals. As one closes in on the site from any direction, a raintree is noticed, branches of which mothers the entire area. The tree holds within itself, the memories of the fearful night, never forgotten. It has seen red and felt tremorson that night, and the very roots have absorbed from the soil, the blood of the martyrs. Under the tree stands the concrete slabs. A few steps up stairs, and you will come across the first poem that warms the heart-words of Tagore himself, speaking of the souls that are immortalised. Another slab carries the words of the national poet Kazi Nazrul Islam and speaks of their sacrifice. The rebel poet calls upon everyone to remember them. The other slabs carried the names of 194 martyrs of Dhaka University on 25 March, on a black plaque written in white ink. On the back are terracotta murals, portraying the olden lives of the evergreen villages, the red and green flag under attack by the meager tyrants, and figurative chains binding the oppressed citizens of East Pakistan. The Memory Eternal or “Sriti Chirantan” was recognised as Dhaka University memorial initially, and in 2015, it was renamed as the “Memory Eternal.” The designers were Abdul Mohaimen and Mashiuddin Shaker. Around the Memory Eternal, there are mostly students, chatting and sipping on tea from a cup under the shade of the raintree. As the sun sets, the darkness is chased away by lights pointed at the memorial, and that is another site to be hold.
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SACMI’S Challenge ZERO-EMISSION CERAMIC KILNS
In the world of ceramics, the name of SACMI is known as the world leader in the supply of advanced technologies for Ceramics and Advanced Materials through continuous development in innovation. The company’s strong positioning on the world market, and its relentless thrive for ensuring high quality standards and customer service is praiseworthy. The Ceramic Industry is focusing on bringing innovative solutions and effective alternatives of traditional machineries through research. The company is focused on working for development of alternative fuels, digitisation and heat recovery aimed at zeroing or reducing consumption in other stages of the process. These are the three pillars of the modern approach to ceramic kiln design, which SACMI recently presented to the market with the first prototype of a 100 per cent hydrogen-fired kiln. The presentation was made during the ‘open week’ organised by SACMI, which took place at the same time as the CERSAIE trade fair. Over 400 international customers of 90 delegations from 35 countries visited the fair. “Making ceramic manufacturing more sustainable is the primary challenge that SACMI has been pursuing for years, implementing optimisations and innovations in all areas of the plant, from forming to firing,” explained SACMI President Paolo Mongardi. Firstly, the kiln accounts for a good 37 per cent of total factory emissions, 46 per cent if one considers all thermal processes (kiln and drier). “With the FMH Maestro, we developed the world’s first industrial kiln fired using up to 50 per cent hydrogen. Today we are taking a further step towards what will be a potentially zero-emission kiln.” The prototype is ready and will be tested to make actual products in the coming months. Meanwhile, the market is moving towards new machines with the full digital management of all parameters in order to optimise quality and consumption. The project The prototype kiln implemented by SACMI is capable of working with variable mixtures of methane and hydrogen – in any percentage – and up to 100 per cent pure hydrogen. The kiln will be ‘switched on’ over the next few weeks, to test its effect on actual products and to take on significant technological challenges, such as the fact that hydrogen has a different calorific value compared to methane and the corrections necessary for managing the firing curves and material feed. From this point of view, the digital control of parameters (e.g. oxygen content at every point in the process) is the prerequisite of this development and has already been implemented in the ‘Maestro’ range of kilns, starting from the FMD model, introduced by SACMI in 2022. The fuel The pure hydrogen production and storage station has already been inaugurated at the SACMI Forni and Filters site in Salvaterra di Casalgrande. The facility, one of the first of its kind in Italy, consists of an electrolyser where hydrogen is produced at a rate of 20 Nm‑ per hour. It is then compressed to increase the outlet pressure from 8/12 bar to approximately 200 bar. This is essential in order to make storage easier, since one of the ‘defects’ of hydrogen is that it is very voluminous (much more so than methane/LPG and up to seven times more voluminous for the same calorific value). The third and last station involves its storage in cylinders, which for the prototype that will be tested in the Lab, “is equivalent to an operating autonomy of 2.5 days” – underlines Daniele Baldini, product manager at Kilns and Driers BU Tiles, SACMI – “sufficient for carrying out full testing on the products”. The advantages Currently, SACMI’s best-selling kiln globally is the modulated air-gas FMA model, which allows air and fuel mixtures to be optimised at every stage, optimising consumption and with great advantages in terms of product quality (especially for complex products, such as slabs), repeatability and consistency of the process. More and more customers are moving towards the latest FMD models (with digital firing parameter and recipe management) and FMH models (already designed for use with methane-hydrogen mixtures of up to 50 per cent). What are the real advantages of ‘full hydrogen’? You just have to consider that by adding 50 per cent clean hydrogen to the mixture, the total saving on CO2 emissions is as much as 23 per cent. This would increase to 55 per cent (more than double) if the mixture were 80 per cent H2 + 20 per cent methane. “What remains constant is the amount of energy required for the process,” notes Baldini, adding, “while to obtain the same amount of energy, a larger volume of hydrogen is required as its calorific value is lower than that of methane (2560 kcal/m3 compared to 8600 kcal); Hence more than proportional savings in emissions to the increase in the amount of hydrogen in the mixture”. This is why it makes sense to increase the hydrogen in the mixture and to get ready for the evolution of the infrastructure, which in all probability will lead to hydrogen-methane ‘blends’ being supplied in increasing but variable amounts. “From this point of view, the way forward already appears to have been decided,” says Claudio Ricci, Tiles R&D Coordinator, BU Tiles, SACMI. “So technology suppliers around the world are getting ready for this development, without forgetting the two conditions which make this scenario viable and truly beneficial to the environment.” First, hydrogen has to be obtained from renewable sources (or rather the electricity needed for the electrolysis process has to be). Secondly, in order for it to be actually applied on an industrial level, the problem of storage has to be overcome (the laboratory prototype is one thing; in a ‘real’ kiln the system would have to be powered directly from the supply network). The 100 per cent H2 kiln is the main but not the only development at SACMI. “By 2024 we will also present a new prototype for an all-electric kiln, exploring all the opportunities in this area as well, with the aim of being ready for the evolution of the infrastructure and
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Made More Spacious with Sheltech 1m x 1m Tiles
Sheltech has entered the ceramics market recently with their premium wall and floor tiles. The ceramic newcomer has been performing outstandingly in the industry with various tiles segments of different shapes and sizes, and designs. Sheltech, a 35-year-old group of industries, initially deep-rooted itself in the real estate industry. Sheltech Ceramics Limited recently launched a venture of Sheltech group, initiated in February 2019. The factory has been set up in Bhola, spread on 57 acres of land. Sheltech Ceramics has added production lines and increased production capacity to 420,000 square feet of tiles daily. This recent investment will potentially turn the company into one of the largest manufacturers in the tiles segment. In May 2022, S heltech introduced the largest tiles manufactured in Bangladesh; in other words, it has the first ever locally made 1 meter x 1 meter tiles. Among the three plants that Sheltech Ceramics has in its factory, the third plant was added to manufacture larger sized tiles, premium in quality. The size of such product makes any surface look more spacious, as fewer and thinner grout lines tend to create that impression. The room also feels streamlined when the floors are covered with larger than usual-sized tiles. The 1m × 1m tiles have a thickness of 12 mm and is made with eco-friendly materials resistant to thermal shock. Made to be strong and durable, this series of prime tiles is shiny and attractive, and helps bounce light around. Additionally, it is easy to clean and maintain. There are imported tiles that are similar to Sheltech Ceramics’ 1m × 1m, but they are imported as per necessity and costs a fortune. Sheltech Ceramics Ltd intends to shift the demand from imported tiles to domestically made ones, and manufacture a quality product within the price range of usual customers-henceforth started the manufacturing of the 1m × 1m tiles. An experiment conducted, and the research paper authored, by Jack Nasar, a professor from Ohio State University, and Saleheh Bokharaei (faculty at Shahid Beheshti University, Iran), on Perceived Spaciousness: Altering the six variable factors (VF) that directly effect perceived spaciousness, we can alter how roomy an office room or a bed room looks. The most obvious VF, size, is directly proportional to spaciousness; bigger size means more space. Light is a crucial second, followed by window size. Texture and wall murals are the fourth and fifth, any and all furniture being the last of the six, yet not the least. If you played around with the six variables, you can create different ambiances. The 2016 experiment by Jack and Saleheh had participants rating spaciousness and preference after being exposed to a space via virtual reality. Written by Chisty Rahim
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RATARGUL Gowain’s Serene
Only a decade back, when considering a trip to Sylhet, most would think about visiting the lush green heavens of tea tree leaves at the wavy hills of century-old tea estates and the waterfalls. However, over the years, a freshwater swamp forest that flows through the arteries of Gowainghat, has cemented its place in the hearts of thousands of tourists who flocks there every season. It is the only swamp forest of sweet water in Bangladesh. The mighty Meghalaya pours into the Gowain, and a stream flows through the Chengi canal, flooding the entire region under 20-30 feet of water where serenely rests Ratargul with mysticism. Ratargul has an addictive aura. It is one of those spaces where one has to be physically present and let themselves be entirely engulfed by its charm to feel its truest essence. And Ratargul in monsoon, is impossible to encapsulate with words. Water lilies, both white and pink varieties, are a common sight, adding a soothing touch to the landscape. These floating plants not only enhance the beauty of the forest but also provide essential habitat and food for various aquatic creatures. One will also notice slender and tall cypress trees rise majestically from the water, creating a picturesque backdrop. There are numerous other kinds of tress, and once in a while you might be welcomed by monkeys hanging from them or birds singing back to the boatmen. These trees not only offer shelter to numerous bird species but also contribute to the overall biodiversity of the forest. Swamp Forest The moist and humid conditions of Ratargul support the growth of mosses and ferns too. They cover the rocks and tree trunks. Reaching Ratargul requires careful planning, as it is situated in a remote area. Here’s how to get there: By Air: The nearest major airport to Ratargul is Osmani International Airport in Sylhet. From the airport, you can hire a taxi or take a bus to reach Ratargul. By Road: You can reach Ratargul by road from Sylhet city. The journey takes 1.5-2 hours, and you can hire a taxi or use public transportation. Local Transport: Once you reach the nearest village, Gowainghat, you’ll need to hire a local guide or a boat to navigate through the water channels that lead to Ratargul. The boat ride is an integral part of the Ratargul experience, offering stunning views of the surrounding landscape. While Ratargul itself is typically a day-trip destination, you can find accommodation in nearby areas for a comfortable stay during your visit. The beautiful Sylhet city offers a wide range of accommodation options, including hotels, guesthouses, and resorts. It’s a convenient base for exploring other attractions in the region as well. Furthermore, the nearest town to Ratargul is Gowainghat, where you can find guesthouses and lodges. There are eco-resorts for a unique and eco-friendly experience, consider staying in one of the eco-resorts that have been established near Ratargul. These accommodations are often designed to blend seamlessly with the natural surroundings, providing a rustic yet comfortable experience. While planning your visit, remember to adhere to responsible tourism practices to protect this fragile ecosystem for future generations. A visit to Ratargul promises to be an unforgettable journey into the heart of nature’s wonders. Ratargul invites you to be its guest, offering a chance to escape the hustle and bustle of daily life and reconnect with the natural world. We must respect the regulations in place, support local communities, and engage with local guides who can deepen our understanding of this unique ecosystem. By doing so, we not only enhance our own experience but also contribute to conservation efforts that ensure Ratargul remains a pristine sanctuary for generations to come. It’s more than just a tourist destination – a testament to the exquisite beauty and resilience of the natural world. It is a place where you can find solace, inspiration, and a profound connection to the environment. Let’s also ensure that Ratargul’s magic endures for all to experience and cherish.
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Events Of Ceramic Industry
Inauguration of “Selections” second outlet in Sylhet: Recently AkijBashir Group’s brands emporium “Selections” has opened a new showroom in Hadi Mansion, Pathantula, Sylhet. With the motto – “Select from the best”, the “Selections” brand was launched in October of last year in an aim to provide customers with a one-stop-ground for all of AkijBashir Group’s brand products under one roof with a vast array of ceramic tiles, boards, doors, sanitaryware, bathware and tableware. Inauguration of Flagship Showroom in Mymensing: RAK Ceramics inaugrated their Flagship Showroom in Kalibari Road, Mymensing. Get your desired RAK Tiles & Sanitarywares from the Showroom to decorate your space newly. Fresh Ceramics Organizes Dealer Tour in Thailand Meghna Ceramics Industries Ltd. (MCIL), a concern of Meghna Group of Industries (MGI), has earned the trust of Bangladeshi customers within a short time since its start in 2021. As a continuation to that success, a special dealer tour titled ‘Cutting the Edge’ was organized at Pattaya & Bangkok in Thailand during September 27- October 01, 2023. New ‘Robusto’ Floor Tiles Make a Splash in the Domestic Tiles Market An international quality tiles brand ‘Robusto’ has been added to the local market. Manufactured by the reputable company X-Ceramics, the ‘Robusto’ brand has entered the floor tiles market with a strong commitment to quality. X-Ceramics embarked on the journey to produce ‘Robusto’ floor tiles after more than two years of meticulous research. These tiles are versatile, finding applications in homes, offices, shopping malls, and factories.
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ECO-FRIENDLY Roofing Tiles TAKE THE LEAD Industry challenges need to be addressed, say entrepreneurs
Time is NOW for eco-friendly clay-made roofing tiles and now is TIME for tile makers. They are the Bangladeshi makers of clay tiles who have gone global as their tiles have opened up the door of a huge export possibility, especially to Europe. The making of clay tiles is simple but it needs amazing artistry as well as artisanal skills. Fluffy mud is made by mixing soil and water. It then dries in the sun and is burned only to turn into clay gold. The artistic tiles with Bengal clay have revolutionised the style. However, clay artisans were once about to lose their hopes and dreams with their centuries of tradition. They then have turned the corner and things are looking up with the coming of the modern machine-driven industry. The clay artisans have turned around to weave a new web of hopes and dreams. Famed for its ‘Tiles Empire’ over the years, Satkhira has eco-friendly roofing tiles to its credit. Kolaroa Bazar in Kolaroa upazila, some 18 kilometres of district headquarters, is one of the prosperous trading points in Satkhira. Murarikathi village is located just 1.0 km away from the upazila headquarters along the border of the district. The artisans of Murarikati-Sripatipur have built an empire of various sorts of roofing tiles. The village, also called Kumarpara, has now got the moniker ‘Italy Town’ plausibly for exporting a massive volume of tiles to the European country. Tile factories used to produce 700-800 containers a year just a few years back. Some 300-400 container tiles were exported to Italy through Mongla seaport. The price of the product per container is average US$ 15000 Eco-friendly tiles Eco-friendly tiles There is a huge local market for roofing tiles if these hand-made tiles are given a more modern touch and the initiative is taken to use them as an artisanal tile in buildings and structures. During the British raj, cottages, offices or residences of the gentlemen used to have tiles at the peak that are still visible in the ancient architecture of Britain. Although a large number of potters have left Bangladesh, some in Kolaroa have kept the traditional tile industry alive in the frontier district. Until the mid-1960s, there were hardly any houses in the country that did not have a tile-made house or two. As it came cheap, roofing tiles became popular after rice and wheat straw-built structures. The structures were felt cool and comfortable during the summer. How Palparaenters European market The traditional tiles industry almost sank into atrophy when the potters associated with tile production left the country in the mid-60s. Satish Chandra Pal, a native of Palpara in Kolaroa, started crafting house canopy tiles in about 1952. From there, potters spread across the country. As Mr Satish Chandra died after independence, the pottery business simply collapsed. Due to their deep-rooted poverty, many artisans left their ancestral profession. With the passage of time, the potters have changed. They are now making tiles using clay. In 2003, local potters created a revolution by pouring clay into a wooden frame and drying it in the sun, making Bengali tiles in line with Italian design. Since then, Bengali tiles are being exported to Italy How are the legacy-bearers? Among those artisans is Gostho Chandra Paul, the president of Kolaroa Upazila Tali Malik Samity [Tiles Owners Association] and also proprietor of Kolaroa Clay Tiles. But he now struggles to survive as his long-cherished art is on the verge of extinction for a number of reasons. The 60-year-old Paul, who has a three-member family, is producing 1,000 units of tiles at his factory per diem. Each unit is currently being sold at Tk 8.0. He earns Tk 1.6-1.7 million per annum. Getting disgruntled and disappointed over the waning business situation, most owners and workers associated with this industry have already lost their jobs. Mr Paul observed that modernity has affected almost all sectors of the country. However, the tiles industry is yet to get the touch of modernity. Production costs have increased manifold, but the price of tiles has not increased. Mr Paul’s forefathers launched crafting eco-friendly roofing tiles in 1947. However, it all started for Mr Paul in 1986 when he set himself up in business with Tk 3,000 only. Ten workers were employed at his factory when he started crafting eco-friendly roofing tiles traditionally. His uncle told him to be self-reliant and build his own future through the long traditional business, which he acquired lineally. But at least 40 tile factories got shut down in the past six years due to their persistent business losses. Now, the number of factories there is about 12. Almost 6,000 workers become unemployed and only 600 are absorbed elsewhere. For generations, the Pal community in the locality has been contributing a lot to this thriving sector. Mr Paul is also committed to continuing their forefathers’ business at any. In 2003, this clay tile was first exported to Italy. Businessman Ruhul Amin exported the eco-friendly tiles there. Arno Export Import, Shuvo Trade Limited, FH Khan Limited, Maa Cottos Inc., Nikita International, Koto Innovator, JK International, Polo Epo Organic Tiles and D Chandra Paul have followed Mr Amin’s footsteps. They are exporting tiles to Italy, Dubai, France, the UK, Australia, Germany and the Netherlands. Mr Chandra Paul, proprietor of Kolaroa Clay Tiles, said Mr Amin continued to look for suitable soil in different parts of the country for exporting tiles to Italy. Finally, Mr Amin found his desired soil in Murarikati area. He is the pioneer in exportable tile business. As the number of roofing tile factories increased in Kolaroa until 2019, the stock remained high at the time. Every year, 300-400 containers of tiles went to Italy. Such tiles are manufactured and sold for 6-7 months in a year. Usually, tile-making season starts from October and continues until the May-June period. Tiles cannot be crafted during the rainy season. Foreigners are using the tiles for floors and walls of their houses because of its eco-friendly nature.
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Reflections on FY24 budget
Finance Minister AHM Mustafa Kamal has authored a Taka 7,61,785 crore budget for the new fiscal year (2023-2024) with the vision of building a developed ‘Smart Bangladesh’ by 2041. The budget that was proposed in parliament in 1st June is 15.33 per cent higher than the revised budget of the outgoing financial year (Tk. 6,60,507 crore). “The budget Taka 7,61,785 is 15.2 per cent of the GDP (gross domestic product),” he said while reading out 248-page budget speech. He proposed allocation of a total of Tk 4,36,247 crore for operating expenditures and Tk 2,63,000 crore as the Annual Development Programme (ADP). The target of attaining GDP growth was fixed at 7.5 per cent and containing inflation at 6 per cent. The overall deficit in the budget would stand at Tk 2,61,785 crore, which is 5.2 per cent of GDP. Out of the total deficit, Tk 1,55,395 crore would be financed from domestic sources and Tk 1,02,490 crore from external sources. The finance minister set an estimated revenue earning target of Tk 5 lakh crore for the fiscal. “Out of this, Tk 4,30,000 crore would be collected through the National Board of Revenue and Tk 70,000 crore from other sources.” The Tax-GDP ratio is now only 7% and is proposed to be raised to 10% in the new budget. The finance minister wants to increase the percentage of direct tax to 45 per cent from 35 per cent. However, the budget practically depends more on indirect tax. The finance minister said that commission-based private collectors would be appointed for tax collection. The most talked about issue regarding the budget is meeting the conditions of International Monetary Fund (IMF), which granted a loan of US$ 4.7 billion at the beginning of this calender year. The global agency has put forwarded 38 conditions that have to be met in the next three and a half years for access to the loan. Nearly half of the conditions have to be implemented by the new fiscal year 2023-24. Budget meant for all – rich and poor : Kamal Finance Minister Mustafa Kamal said that the proposed budget has been awarded to all sections of people, including the rich and the poor, while all the projections made in the budget would be attained as like the previous years. He, however, categorically mentioned that the proposed budget had not been framed in line with the IMF suggestions. Kamal said the IMF usually gives suggestions to its member countries on maintaining balance sheet as well as properly maintaining income and expenditure accounts, which he thinks, is a good thing. He added that the IMF not only helps the member countries with credit support, but also extends support in project delivery in a flawless manner. “We can only take their (IMF’s) suggestions which we feel necessary.” The minister proposed imposing environmental surcharges on multiple vehicles. In the budget, the annual tax-free income threshold raised from Tk 300,000 to Tk 350,000 would give some relief to individual taxpayers. Some 50 types of fees would increase that include travel tax. The government estimated that private sector investment would increase to 27.4% of GDP in FY24 while it remains at 21.8% in FY23, meaning that an additional Tk 4,04,097 crore or 41.8% growth is required. Tk 2.63 lakh crore earmarked for ADP The size of the Annual Development Programme (ADP) for the fiscal year 2023-24, is Taka 2.63 lakh crore with the highest allocation of Taka 75,945 crore (29% of allocation) for the transport and communication sector. The ADP for the fiscal year was approved at a meeting of the National Economic Council (NEC) earlier. Out of the original ADP allocation of Taka 2,63,000 crore, an amount of Taka 1,69,000 crore would come from local loan sources while Taka 94,000 crore from foreign loan and grants. Considering an allocation of Taka 11,674 crore for autonomous bodies and corporations, the overall ADP size has stood at Taka 2,74,674 crore. The overall ADP size include an allocation of Taka 8087 crore as foreign development assistance. The number of projects in the new ADP totaled 1,309. – 1,118 investment projects, 22 survey projects, 80 technical assistance projects and 89 projects from the autonomous bodies and corporations. According to the new ADP, the highest 10 allocation recipient ministries and divisions are the Power and Energy Division (Taka 44,393 crore or 17% of allocation), the Road Transport, Highways and Bridges Division (Taka 43,126 crore or 16.5%), the Railways Ministry (Taka 14,960 crore or 5.5%), the Local Government Division (Taka 40,503 crore or 15.5%), the Secondary and Higher Education Division (Taka 14,086 crore or 5%), the Ministry of Primary and Mass Education (Taka 12,018 crore or 4.5%), the Science and Information Technology Ministry (Taka 12,980 crore or 5%), the Health Services Division (Taka 12,209 crore or 4.5%) and the Ministry of Agriculture (Taka 10,707 crore or 4%). Ten projects with the highest allocations in the new ADP are the Rooppur Nuclear Power Plant Project (Taka 9,707 crore) followed by the Matarbari 2×600 MW Ultra Super Critical Coal Fired Power Project with Taka 9,081 crore, fourth Primary Education Development Programme (PEDP-4) with Taka 8,586 crore, Dhaka-Ashulia Elevated Expressway Construction project with Taka 5,870 crore, the Padma Bridge Rail Link project with Taka 5,500 crore, Hazrat Shahjalal International Airport Expansion with Taka 5,499 crore, Dhaka Mass Rapid Transit Development Project Line-1 with Taka 3,911 crore and Line-6 with Taka 3,425 crore, Bangabandhu Sheikh Mujib Railway (Jamuna) Bridge Construction project with Taka 3,778 crore. Some industries may be affected The country’s businessmen are paying the price of the government’s policy on energy, said the deputy leader of opposition in parliament, former minister and industrialist Barrister Anisul Islam Mahmud. The business leaders are not generally viewing the budget in general as business-friendly. Taxes or duties on imports of raw materials and VAT in some sectors are increased, that may affect the prices of some products and these sectors may not attain the capacity to boost, they said. However, the gains tax
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Standing by the Visually Impaired
An alternative orthography for the vision-impaired, Braille, is a form of written language consisting of raised dots on a surface, in patterns that resemble letters, numbers, and designs (for paintings/artwork). Braille came on papers during the early 1800s by a Frenchman called Valentin Hauy; and was an effective way for visually-impaired people to read. The language, now universally accepted, originally came from the mind of Louis Braille who lost his eyes at the age of three. Young Braille was self-motivated, and went on to study at the Royal Institute for Blind Youth (One of the first institutes for blind children, now known as the National Institute for Blind Youth). During his studentship there, he started developing a tactile coding method which soon emerged as a globally acknowledged form of writing and reading for the vision impaired. Akij’s Braille tiles In collaboration with CarrotComm Ltd. Akij launched their Braille tiles on International Mother Language day 2022, to help over 800,000 existing and recorded blind populace of the country. The Tiles, just like the Japanese ones, will have Braille messages to help those who are visually impaired. The 2022 collaborated campaign was called “Let the walls be Language friendly”. “Language should not be a luxury but a fundamental right for everyone” – Akij Ceramics. Here’s how it works One to six dots arranged in each pattern, forming one of 63 characters, felt by the fingertips or soles. We now have Braille for a lot of things such as money, books, novels, and TILES as well. That brings us to: Braille pavements – It came about in 1967 by the hands of the Japanese; first used as flooring for a street in Okayama. The flooring now, is widely encouraged to be used as directions and warnings/Hazard signs for blind people. The campaign intended to promote the use of Braille tiles to help blind people navigate properly. With a steadfast aim to create an all-inclusive society, Akij’s Braille tiles have now been on the market for over a year. Akij uses modern SACMI technology in an attempt to mass produce perfects. The company brought in machineries from Italy and Spain, all dedicated to manufacturing a high volume of Braille tiles if need be. Upon asking about the most common messages that are imprinted on tiles, Mohammed Khourshed Alam, Director (Operations) of Akij Bashir Group, stated that navigation signs in bus-train stations, markets, educational institutes, etc. are most commonly used forms of Braille tiles. “In terms of sales, the company is focused on the number of people helped rather than the number of units sold.” Braille messages on tiles can be customised to any typefurther adding to the usefulness and versatility of it. Mr. Khourshed Alam believes that if every organisation actively participates by installing Braille tiles, the world for the visually impaired would ease. He also hopes to foster a diverse and inclusive society. Akij collaborated with CarrotComm Ltd. to install Braille tiles at the Icon Eye Hospital Ltd. Akij did this free of cost for Icon Hospital, and spent around Tk 10 lakh in the project.Accolades Best Brand Award from Bangladesh Brand Forum, 2019-22. Most Innovative Solution For Disabled People from the 5th Bangladesh Innovation Award. Written by Chisty Rahim
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RANGAMATI After Gondwana Split
What oozes through your psyche when you hear the word “Rangamati”? For those who have never been there, it might be their half-blurry memories of their very first introduction to the space through their family albums holding photographs shot on a 35mm roll with a Yashica of their newly married parents standing atop a hill with the view of a boundless blue waterbody on the backdrop, or peculiar visuals and texts from their shoddily printed middle school textbooks, where they might have scribbled humorous drawings later on. Whilst for others, it might be freshly baked memories from their last winter trip with friends at the space. Memories of meeting mesmerizing fauna and flora while on a hike through the thrilling trails and their first ever kayaking experience full of excitement and sudden waves of mild fear of drowning from time to time, as they kept the crutch strap locks on check of the old orange life jacket embracing their torso. And for some, finally inhaling the clouds straight into their soul, something they have always envisioned when swimming inside deep daydreams while listening to their favorite romantic music in the background and seeping through the lines of their favorite book about life from a beloved author. But how many of us have actually ever intended to put an honest effort to understand, respect history and internalize the truest essence of a space like Rangamati instead of just always perceiving such spaces like the mindlessly romanticized gazes and activities of the typical tourists, especially in this era of travel package advertisements consisting of hideous drone footages floating around social media? Rangamati is Rangamati, well the entire Chittagong Hill Tracts are a lot more than just an alluring tourist attraction from our southeast and the tessellated spiels. Travellers should be mindful, hence, the least we can try is to educate ourselves and others regarding the complex historical and contemporary contexts of the space from veracious sources, acknowledge the authenticity and try to be on the right side of history. Rangamati is indeed a living embodiment of the meaning of its name, ‘colorful soil’. Millions of years ago Gondwana decided to split, forcing the Indian plate to drift northward and collide with the Eurasian plate resulting in the creation of the Tibetan Plateau which breathes the mighty Himalayas. And due to these otherworldly collisions taking place, the low-lying world’s biggest delta which also later formed from the sediments of the same Himalayas, got its gift of high-altitude lands on the fringes of its body, notably in the southeast where Rangamati serenely rests tall. This geographical history also explains why the region has a complex topography, shaped by the erosion and weathering processes. The distinct features of the myriad of hills, valleys, and water bodies are the result of the geological activities going on for eons and in light of this geographical history and map of present-day Bangladesh, it won’t be an exaggeration to say that Rangamati rose before, watching over the rest. Just like its original inhabitants came before us Bengalis. The main attraction of Rangamati is the Kaptai Lake with its scenic splendor. Created in 1960, it is the largest artificial lake of the country having a surface area of 58,500 acres and water holding capacity of 525,000 m3. The lake, dotted with islands, captivates the tourists with its beauty and calmness. Dumlong, considered to be the third highest mountain peak in the country, belonging to the Rentlang Range is about 3,316 feet in height and located in the Bilaichhari Upazila of Rangamati. Roughly thirteen thousand five hundred acres, this fighting land of the ancient kings also boasts as the largest district in the country in terms of land area and also the only district to share international borders with two other neighboring countries, India and Myanmar. The aura of this place will forever be onerous to describe with words regardless of the copious sum of visual and textual information on the internet about the place, starting from must-visit areas to food to accommodation. It is one of those spaces where one has to be physically present and gradually attempt to internalize the rest in order to get the taste of its inexplicable flavor, to the least. The indigenous folks lurking through the veins of Shuvolong; the piercing reverberation of the not to be spoken tales buried beneath the bloody blues of Kaptai; getting lost in a hiraeth of a never confessed love while inhaling the waves of floating white cotton candies straight into the deepest labyrinth of the soul; the shimmery kisses of the full moon dancing like a mystic ballerina all over Karnaphuli’s body as the million years old wind from the unfamiliar mountains caress your hair and softly shuts your eyelids making your mind trek through the fresh memories of trekking and the smell of limestone from the dimly lit rooms inside the heart of Alutila, or the star gazing nights spent on the adibashi village which shook you with the most chasmic lesson of anthropology; one can never get overdosed from the lures of Rangamati, they can either dissolve within its magic or leave parts of their soul and come back from time to time in quests to search for it. Even deliberately letting it go every time they meet their soul, only to use it as an excuse to return the space in the albino fogs of winter, in the magnanimous drizzles of monsoon over the acres of inclined jhum fields and to hold the dry leaves resting over cold palms like mannequins of butterflies waiting to take flight with the winds of the autumn. One of the most well-known tourist destinations in Rangamati is Sajek Valley, which is located among the hills of the Kasalong mountain range in Sajek union of Baghaichhari Upazila. The valley at 2000 feet above sea-level. The Sajek Tripuri Valley is referred to as the roof of Rangamati and the Queen of hills. The Sajek river, which flows from the Karnafuli
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Glimpse of The Architectural Legacy of DWm4
DWm4 Architecture stands out as an innovative and visionary design studio, among the leading firms in the country. With its unwavering commitment to excellence, DWm4 has redefined the architectural landscape of Bangladesh through its creative and sustainable designs. Under the partnership of architect Mamnoon Murshed Chowdhury, architect Mahmudul Anwar Riyaad, and architect Shaoki Shamim, this renowned firm has been at the forefront of reshaping the country’s urban landscape with its innovative designs. In practice since 1995, DWm4 has been open to reshaping itself in terms of new design ideas, and also in management and operating strategies. Over the years, the practice has involved three separate and autonomously run units for architectural design [DWm4 Architects], interior design [DWm4 Intrends], and design-build projects [DWm4 Interprise]. While the founding partners, architect Mamnoon Murshed Chowdhury and architect Mahmudul Anwar Riyaad are involved in all three; the ID and Design-Build establishments have partners namely architect Daniel Haque and architect Arif Khan in chief executive and operating positions. In 2022, architect Shaoki Shamim joined DWm4 Architects as the third partner. All three architects had been members of the DWm4 team for a good number of years before joining as partners. With the younger generation coming on board, the vigour and architectural energy are strengthened through better mid-level management, enabling the practice to continuously make additions to its visions. The focus on re-structuring and evolution in DWm4 is based on the intent to produce designs of significance and relevance. While all projects follow the essential principles of being truthful to function, climate, structure, and aesthetics, they vary significantly so as not to be repetitive and predictable. For example, the architectural language is different in the office buildings like Bay’s Edgewater, Prime Bank Head Office on Gulshan Avenue, and Grameen Telecom Trust [GTT] Bhaban in Mirpur. The differences inherently are derived from site context and structural and functional prerogatives. landscaped precinct is created to bring tranquility to the context by appearing as an oasis to the pedestrians. The landscape is viewed from the interiors through the glass façade, and from the terrace formed by terminating the concrete portal on the 8th Floor, which is adjacent to the social spaces like the dining hall area, and daycare room. Another terrace facing East, adjacent to the Board Room on the 19th floor, is also a nod to the context as it provides a panoramic view of Hatirjheel. The design of Bay’s Edgewater celebrates the building’s location – accentuating the views from the interior spaces towards the sensual curves of the lake. At the same time, the layout does justice to its setting in a corner plot – separating the incoming traffic toward the more public café and gallery areas from the regular officegoers. Due to the careful attention to functional attributes, MEP, and BMS elements, after almost a decade of completion, the performance of the building is still stellar. The Prime Bank building is set deeper into the site as much as possible to be away from the maddening traffic of Gulshan Avenue. This was possible due to the site’s elongated shape. A 70-foot deep The Grameen Telecom Trust (GTT) project was designed on a partially built structure with fixed cores. By deleting one structural grid at the front and creating a water body at the place, the architects created a transcendent mediating space between the street and the double-height entry. Similarly, the very deep building floor plate was broken into two blocks by doing away with the middle parts of the floor slab by inserting a skylit atrium, which also ensured north-south airflow. The edges of the atrium are not static and shift in sections at different vertical levels. The facade is an intriguing composition of glass and concrete, creating a dynamic interplay of transparency and solidity. The patterns are inspired by organic lines of leaves and provide the building with a dynamic expression. The transparent glass sections allow natural light to enter the building, reducing the reliance on artificial lighting. About the project, architect Mahmudul Anwar Riyaad said, “We worked with the section of the building, which resembles a gallery. The ground floor lobby is dedicated to the people and space, encompassing a vast openness.” The building, designed in collaboration with architect Rashed Chowdhury reflects on people, progress, and emancipation. The field becomes more than just a patch of land; it becomes a symbol of joy, innocence, and a shared sense of community: In the typology of residential buildings, DWm4 has a large number of building projects that address the core concerns of natural light, ventilation, optimisation of space, and communicating with the context. Be it a single-family residence like the Reaz Loft in Khanpur, Narayanganj, or a multi-family building like Pohela Boishakh in Banani, Dhaka, these ideals find reflection in the designed forms. In Pohela Boishakh, the front landscape, the double-height drop-off area, and the lobby mediate with the street and creates a transition from public to private domain. The community space on the ground floor has a space that is designed as a café where residents come together and bond. The textures on the wall and floor are inspired by alpona motifs, reinforcing the spirit of Pohela Boishakh. The collaboration between the developer Signature 11 and DWm4 Architects ensured the seamless integration of architectural design and real estate development expertise, resulting in a remarkable building. The Reaz Loft stands as an incredible architectural achievement within the busy town of Narayanganj. This home on a very narrow strip of land, blends in with its surroundings and embodies modern living while paying attention to treasured memories of a special childhood field that is located in front of the loft. The elegant layout exhibits modernism with an emphasis on functionality and clear lines. As architect Riyaad explains, “Even though there was no room for horizontal deviations, we used our creativity to play with the building’s sectional elevations.” The structure stands as evidence of the designers’ keen eye for detail and commitment to creating spaces that resonate with the
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Bangladesh far away from tapping insurance potential
“The insurance sector’s share in the country’s gross domestic product (GDP) can be raised up to 10% from the current rate of 0.5% in the next 10 years, if the National Insurance Policy 2014 is properly implemented, and public awareness is created in this regard,” Managing Director and CEO of Pragati Life Insurance Limited (PLIL) Md Jalalul Azim told Ceramic Bangladesh (CB) in an exclusive interview. There is a huge potential for both life and a non-life insurance sector in Bangladesh as the country’s economy is booming. “But, we can’t exploit the potential due to image crisis, lack of proper monitoring by the Regulatory Authority, shortage of skilled manpower, and lack of awareness among many people,” Jalalul Azim said. Md Jalalul Azim Managing Director and CEO Pragati Life Insurance Limited There are a total of 82 insurance companies in Bangladesh, including 35 life insurance companies. Of these, the government has two companies– Jiban Bima Corporation and Sadharan Bima Corporation. However, the insurance sector does not flourish as per stakeholders’ expectations due to alleged violation of rules and regulations that leads to unethical practices at different levels. “We have more insurance companies compared to the need. For example, India is one of the world’s largest economies and has the highest population but there are only 52 insurance companies there. Steps of Pragati Insurance Pragati Life Insurance Limited (PLIL) is a third generation company, and Pragati Insurance Limited (PIL) is the first generation company in the country. Considering the overall situation, Pragati Insurance companies are in a better position compared to others. Pragati General Insurance Company along with others got a license in 1985. After achieving success through dynamic activities, the company’s entrepreneurs launched Pragati Life Insurance Limited in 2000. It started with a paid-up capital of Tk 30 millionagainst an authorised capital of Tk 250 million. However, the second generation insurance came in 1990, and the fourth generation in 2013-14. Pragati have 371 branches across the country. The life insurance premium was Tk481.76 crore in 2022 and met claims of Tk315.75 crore in the same year. In view of premiums, “we are now in 7th position among 33 insurance companies. We are in the capital market too. Our share price is the second or third highest in the stock market. Every year, we pay dividends to our shareholders.” The Pragati Life Insurance CEO, Mr Jalalul Azim, said, “We pay insurance claims properly without any hassle while many companies can’t pay their customer’s claims. It seems owners of many insurance companies don’t have a proper idea about insurance operations. So, they can’t pay their client’s claims amply. As a result, a negative idea among many people has been created in our insurance sector.” Overall, he thinks, Pragati is one of the better companies in the country. Why will people take insurance? In general insurance, clients can demand their claims after an accident. On the other hand, clients can demand the claim in both situations after the ending of insurance tenure and accident in life insurance, the Pragati CEO said. Common people get more benefits if they take insurance from reputed companies. Accidents may occur at any time in life. The victim’s family will get a handsome amount if a member takes insurance. Besides, if industrial units are burnt, ships are sunk, and airplanes are devastated from time to time and if businesses take insurance, it can overcome financial crises somewhat. Hence, there is a difference between banking and insurance systems. Banks can give a fixed profit to customers after an estimated period. But an insurance company can give a guarantee. “We do insurance over Tk. 50,000. And, if someone does insurance of Tk. 1 crore, we do Tk. 10 lakh insurance on our own and we do reinsurance at a foreign company for the rest of the amount.” As it is a Muslim-majority country, the demand for Islamic insurance is increasing. But there is a lack of skilled manpower, and policy here. There is no skilled person at the Shariah council to operate the Islamic insurance system. “We have also a service named after Takaful. A policy is very necessary for Islamic insurance.” Insurance for ceramic manufacturers The country’s ceramic manufacturers have to import different types of raw materials to manufacture ceramic products. During the import of the materials, accidents may occur at sea or on roads. For temporary financial support from damage, businesses should take insurance, Mr Azim also said. As per the government direction, import and export businesses have to take non-life insurance during Letter of Credit (L/C) opening. However, every businessman should take the benefit as it has a priority in the globe. Lack of skilled manpower Insurance Development and Regulatory Authority (IDRA) issued a rule for appointing Managing Director (MD) and Chief Executive Officer (CEO) but such highly qualified officials are not available in the market. Insurance-related technical departments also lack skilled manpower to operate insurance companies here. For example, Actuary is important in the insurance sector but there is only one actuary professional who is now 80 years of age. “So, our sector can’t flourish as per the potential.” There is also unhealthy competition in the industry. The government has fixed premiums for general insurance, but some companies offer commissions of up to 50 percent to customers. “There is no reinsurance company in Bangladesh. If the company does not do reinsurance how will it meet customers; claims? So they find a tricky way, he added.” Insurance companies can’t meet the claims of clients without maintaining professionalism. “IDRA installed observers in insurance companies. But if they don’t have money how they will meet the claims?” he said. To bring discipline in the sector, all companies must be brought under rules and regulations. Otherwise, public trust won’t build and develop the sector, the MD said. Sector growth decline Despite economic growth, there is no such progress in the insurance sector. The premium of insurance companies is 0.5 percent of GDP contribution which was 1.0 percent five years ago
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SUSHI TEI Experience Tranquillity with Authentic Japanese Taste
If you’re in the mood for a sublime space and Japanese cuisine, Sushi Tei is the place. Sushi Tei interior aspires to a state of harmony, serenity, and simplicity. Clean lines, uncluttered areas, and a minimalist approach are used in the design to foster a serene mood. Popular Japanese restaurant chain Sushi Tei is known for its sushi and other Japanese cuisine. It began its journey in Singapore and has since spread to several Asian nations including Bangladesh. In 1994, it was opened in Singapore and in Bangladesh it’s first introduced in 2020 at Gulshan, Dhaka. The interior reflects Japanese culture’s Zen Garden idea. recognising and praising the genuine shape and colour that permeated the entire area. A sturdy Keora tree root sculpture stands out at the entrance. A component of nature, yet in its unaltered, unadulterated state, it exudes a unique aesthetic appeal. On the exterior, the GP sheet and MS sheet sculpture blend with the creepers, creating a green facade. The transition from the outside to the inside is thoughtfully planned. At the entryway, a zen garden is included to go with the wooden pavers. A large waiting area is available at the reception desk on the ground floor to welcome visitors. The first floor is where the restaurant is. The staircase’s Tuna fish sculptures on the wall and the north-diffused light from the opening offer visitors a sense of calmness. The entire experience—from the outside to the inside—is a voyage into meditation. “It’s pretty difficult to convert a residential property into a restaurant space. I liked the entire area as there were a lot of space and trees surrounding the structure. The obstacles we experienced served as the inspiration for every design choice,” explains the interior designer and artist Md. Mazharul Haque Tonmoy. “It had an issue with water clogging since the surface in the area was lower than the road. To address that, we included soak-able green areas, which allowed us to design an outdoor zen garden.” The restaurant’s aesthetics favour a subdued and neutral colour scheme. Earthy tones such as beige, cream, soft greys, and muted greens have been used to create a calm and soothing atmosphere. The focus is on functionality and creating a sense of spaciousness. The use of natural materials is remarkable. Wood, bamboo, stone, and natural fibres like cotton are incorporated into the restaurant’s interior. Exposed wooden beams, bamboo partitions, and stone accents create a sense of warmth and authenticity. Sushi Tei’s interior emphasizes open spaces and a sense of flow. The layout of the restaurant allows a smooth transition between different areas. Open floor plans, sliding doors, and screens are used to create flexible spaces that can be adapted for different group sizes or private dining options. It’s fascinating how different types of floor materials are used to separate spaces. To accommodate various visitor demands, various sitting configurations, including booth seating, low-height seating, and Takumi seats, have been implemented. Gentle and warm lighting played a crucial role in this Zen-inspired restaurant. Soft, diffused lighting fixtures like pendant lights, paper lanterns, and wall sconces have been used to create a tranquil atmosphere. While the space is designed as a low-light space, maximising natural light through large windows or skylights is also incorporated to establish a connection with the outside world. Incorporating Japanese artwork, calligraphy, or traditional motifs enhanced the Zen aesthetic. Hanging scrolls (kakemono) with brush paintings, ink wash paintings (sumi-e) and carefully selected artwork provide focal points and add cultural depth to the space. The acoustics of a dining area are crucial to its ambiance. The soft trickling of fountains and running water is now present. The ambient noise was softened with the help of a miniature indoor fountain. To add a touch of nature and artistry, Sushi Tei’s zen garden displays bonsai trees. These meticulously crafted arrangements reflect the Japanese appreciation for beauty and harmony in nature. The entirety of the setting is ideal for taking photos. The use of mirrors and glasses is fascinating. “The Japanese are very sensitive about their design. The patterns they use on their screens are also very detailed. We tried to follow their process of design, not a specific design. The philosophy was to let the space speak for itself about how it wanted to be treated. We were just trying to listen,” Md. Mazharul Haque Tonmoy added. Sushi Tei, provides an oasis of calm for guests, allowing them to relax, unwind, and appreciate the simplicity and beauty of their surroundings while enjoying their dining experience. Written by Fatima Nujhat Quaderi
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Rupayan leans towards building more green apartments Says CEO
Rupayan leans towards building more green apartments, as its demand is going up in the country. But, higher construction material prices and apartment registration costs make a challenge for realtors, CEO of Rupayan Housing Estate Ltd. Md Alinur Rahman told Ceramic Bangladesh (CB) in an exclusive interview. Bangladesh’s real estate sector, Md Alinur Rahman said, has boomed in recent years but today it’s going through a challenging situation due to a variety of issues. The sector has earlier flourished, thanks to the self-motivated venture of Developers and realtors. Since housing is a basic need of people, the entrepreneur said, “we lean to taking big projects on huge pieces of land to build accommodations for more people.” Despite the sector’s huge contribution to the gross domestic product (GDP), we don’t get a business-friendly policy or support from the regulatory authorities, he said in an interview. “I believe if the government and other authorities concerned are caring about the sector, it would be the best booming sector in the country.” The Rupayan Housing’s journey of 24 years has been glorious and through this journey, he said, “we have fulfilled the dreams of a lot of people by building apartments and implementing commercial projects” in the country. “We build strong and quality buildings. We have a strong and innovative culture and we maintain the aesthetic design through our creation.” Mr. Alinur Rahman added, “We are such a developer who lead from the front. We’ve created the country’s first township project (Rupayan Town) in Narayangonj and one of the biggest and first premium mega-gated community projects (Rupayan City Uttara) in Uttara in Dhaka.” Rupayan Housing’s strengths are said to be unique products, excellent efficiency, and productivity. It is a customer-centric organisation, he pointed out. “Our services create raving fan customers. We can scale sustainably and have high adaptability. We continuously work on the diversification of products and services. We are also blessed to have robust and decisive leadership.” He said their ongoing projects are in Motijheel, Naya Paltan, Mirpur-1, Tejgaon, West Dhanmondi, South Badda, Bashundhara R/A, Mirpur DOHS, and Savar in Dhaka, Sylhet, Kanchpur, Cumilla, Chattogram, and Narayanganj. “We look forward to creating more so that the Rupayan group continues to create history in the Bangladesh real estate sector,” he said. The foundation work of its green paradise in West Dhanmondi on 102 Katha would start soon. “Our first satellite town at Narayanganj will be environment-friendly.” Now both job holders and businesses are going through a challenging moment. So, apartments between 1500 and 2000 square feet are of higher demand. In such a situation, Rupayan brings to the market apartments worth Tk1.5 crore to Tk2.5 crore. Buyers had once used to look for just an apartment, but nowadays their test has changed, thanks to increased income and change in lifestyle and they want wellness, communities and condominium apartments, he said. Clients want multiple facilities together for their family members in the apartments. They want such an environment that kids and elderly people can enjoy together, he added. RHEL is a pioneer in Bangladesh providing condominiums, gated communities, and satellite towns. Considering social responsibility, “we always try to build environment-friendly housing where all aged people can be beneficiaries,” said Mr. Alinur Rahman. The Rupayan CEO mentioned that the green apartment concept came to Bangladesh about seven years ago. There are a lot of issues in green apartments such as water reusing issues, waste management, huge open space, a percentage of greenery, and soil quality. “We are seriously working to include such facilities in all our projects,” he said adding that several companies such as BTI, Sheltech, SEL, Concord, and Rangs Properties Ltd are doing it. Rupayan Swapno Niloy in the Siddheswari area of Dhaka was built as per green apartment concept. It is a high condominium project, he said. Besides, Rupayan Town in Narayanganj Bhuighar has huge open space and greenery. “Our ongoing project named Rupayan Lake Castle in the Bashundhara area will be a proper greenery building. And, Rupayan green paradise project in West Dhanmondi will be made into a natural pond.” He said, “We don’t think only financial issues before setting up a building. Our priority is to ensure a livable and quality building for our clients. As we build an apartment on our purchased land, we can provide it at a reasonable price.” The entrepreneur pointed out that of the many challenges in the real estate sector, the key one is higher price of construction raw materials and apartment registration costs. He is also concerned about the reported plan to ensure apartment registration in a full-value system. “If it is implemented, the flat registration cost will go up from Tk8-10 lakh to Tk25-30 lakh for a Tk1.0 crore apartment. “The registration process should be at a minimum rate; otherwise buyers will suffer and that will be a new challenge for the sector.” Also, the construction area will be reduced by 30-35 percent due to the Detailed Area Plan (DAP) and in such a situation, developers will make buildings jointly with land owners, he said adding that in that case, the apartment prices may rise around 30 percent. So, he recommended amendment to the DAP. There are around 250 sub-industries in the real estate sector and he felt that all should work together to ensure that the sector flourishes. He also emphasized that they try to uphold the rights and privileges of the customers from the land process to apartment handover. “We are firmly committed to ensuring our clients’ rights.” He recalled that once labours used to carry raw materials on their heads to cast the roof of a high-rise building but the trend has changed. “Now we use different type of modern machines in all our work, like foundation piling, and roof casting in buildings. We also use ready-mix concrete (RMC) to maintain qualitative value and speed up the work. The mechanism is also used in civil work, sanitary, and painting.” Now, most companies use machinery to construct their projects.
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Lack of Policy, Marketing Supports Clogs Export Earnings from Pottery Industry
Even though terracotta has thousands of years of history in this region, there is no dearth of demand for the art in the modern era as well. Rather, people’s taste has changed with rising income and innovative design increases the art’s demand. People want to hold their history and tradition through terracotta, murals and sculpture. Nowadays, terracotta murals with traditional Bengali folk symbols and the Liberation War are seen on walls of different establishments such as museums, educational institutions, offices, stadiums, restaurants and squares of roads. The symbols of the Language Movement and Liberation War are noticeable arts in the country. These terracotta murals and sculptures touch people’s hearts easily as history was made through a bloody struggle. In Bangladesh, different ministries and departments allocate funds to set up the arts at various places Nokkhotro ensures innovative design The Nokkhotro is a sculpture and pottery institute established in 2009 by artist Ashraful Alam Riaz in collaboration with Muhammad Rawshan Ali so that the history and traditions of the country can be highlighted through art works to the next generations. “We are moving forward by doing small art-works. At the end of 2011, the artist, Shrivas Basak, joined the Nokkhotro. After that, we never looked back. Today’s Nokkhotro is the result of our tireless work,” Mr Ashraful said. In this context he recalled the contribution of two persons to establishing the institution –Shrivas Basak and Khorshed Alam. However, he was working at Nokkhotro till March 2019,” Ashraful added. Nokkhotro has around 150 artworks till date and most of them are mural and terracotta. “I only built a sculpture ‘Bangabandhu sculpture’ at Rajbari road square of Faridpur,” he shared with author. However, despite a huge demand for pottery items in the global market, Bangladesh cannot take the opportunity due to lack of proper marketing, and policy support from the government He explained that the demand for Bangladesh’s pottery items like crockery, mural, and terracotta have a good demand in local and international markets, thanks to unique designs. He regretted that the country cannot earn more money from the industry by exporting these items due to lack of policy support and marketing difficulties. “I urge the Cultural Affairs Ministry to take an initiative to arrange fairs at home and abroad so that our artists can display their art works in those exhibitions,” Mr Ashraful said. Terracotta are made with clay, and mural and sculptures with ceramic plates, he said, adding that emperors had in the past used earthenware and decorated their basilicas as well as different important places with mural and sculptures by famous artists. Nowadays, murals and sculptures are built in different sites to recall history and enhance beauty of a site Key arts of Nokkhotro “My institution has already produced 120 murals, 30 terracotta and one sculpture,” the artist said. Their remarkable mural and terracotta are ‘52-71 Shironam’ and ‘Sheikh Rashel’ murals on the walls of Shukrabad New Model Degree College in Dhanmondi, ‘Muktir Dak’ mural at Nikunja-1 of Khilkhet, which was inaugurated by former President Abdul Hamid, Bangabandhu Memorial Ghat Mural in Tungipara of Gopanjang, Terracotta of Osmani International Airport in Sylhet, ‘Prerona’ mural in Dinajpur, Muktijoddha and Bangabandhu terracotta in Tetulia, ‘Rouhani Manzil terracotta and mural at Bir Muktijoddha Mofiz Angur Museum in Natore, ‘Shaheed Sritisoudh’ Shikhari Para Tozammel Hossain Chowdhury Degree College Premises in Nawabganj Upazila. He also added that their works on terracotta, and murals are going on, at Dinajpur DC office gate, Narayanganj Rupganj Upazila Parishad Gate, Rupganj Upazila health Complex gate design, and Madhubagh Park. Several new projects to be implemented in different parts of the country are awaiting for approval, Mr Ashraful added. Murals on two ends of Padma Bridge The highest two murals in Bangladesh are ‘Bangabandhu and Sheikh Hasina’ Murals on both ends of Padma Bridge. One is Mawa site of Munshiganj and another is Zanjira site of Shariatpur that increased the beauty of the Padma Bridge, artist Ashraful said. “We have built Jamdani murals on both Mawa and Zanjira sites; this is our best work so far. The mural of Zanjira site is 72-foot tall, and 36-foot tall. The mural at Mawa end is 90-foot talland 40-foot tall,” he informed this author. “We used to engage 18 artists and 22 workers between April and June 2022 to construct the Padma Bridge mural at the Zanjira site.” We built a special studio for the work there. Portraits of Bangabandhu Sheikh Mujibur Rahman and his daughter Prime Minister Sheikh Hasina were placed on the walls on the banks of the Padma River, decorated step by step with Chini-Tikri,” he also said. The artist added that primarily they thought of creating a mural with ceramic tiles, but later opted for high-quality ceramic plates considering the bright colours and durability. “A total of 15,000 plates of 37 types of colour were used in the two. These are called ‘Chini Tikri’. And 30 types of coloured plates were used to produce the portrait of Prime Minister Sheikh Hasina. These ceramic plates are not usually produced by ceramic companies. However, Artisan Ceramics made 8,000 plates used in the Mawa end’s mural, and Monno Ceramic made 7,000 plates used in Zanjira end mural. These are the biggest murals in Bangladesh.” Use of Ceramic products “Now we use 100 per cent ceramic products while we make murals. The ceramic products ensure durability and colour bring brightness in our arts,” he said. “As ceramic products are used in our works, I request ceramic companies to sponsor us to continue our work across the country and the globe. It will help to expand the ceramic market as well.” “We want to keep Bangladesh’s tradition and history through murals, terracotta and sculpture for the next generations. I have a plan of building 100 most influential people’s mural across the country. Prime Minister Sheikh Hasina will be one of them as she has a contribution to the economy,” Ashraful said. He pointed out that their key challenge is financing support. “It is
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DBL CERAMICS Conservation and Sustainability
Between depleting natural resources and a dire need to conserve and restore nature is the upsurging imperative to ensure industrial growth. An emerging economy like Bangladesh needs urgent transition to a more greener approach when it comes to growth, a resurgence of a 52 year-old nation. Focusing On Ceramic Industry While the product itself is environment-friendly, the production process causes 0.29 tonne of CO2 emission for every tonne of ceramic produced. Following a worldwide awareness, nations are turning to sustainable approach. The ceramic companies in Bangladesh are adapting to it as well. On a broader perspective, the 2023 SDG report says, one in every two countries lacks an effective framework for sustainable water management. From 2015 to 2020 there has been a slight improvement when it comes to SDG implementation. This, however, needs to be doubled if we want to meet the global goals. As Bangladesh has pledged to implement SDGs and comply with global standards, its ceramic sector has seen sustainable growth. DBL Ceramics, a concern of the DBL Group, is a young ceramic manufacturer, established in 2017. In a very short period of time, the company has reached the current position as one of the top manufacturers of ceramic tiles. DBL tiles are made for almost every surface –regular floors, high-endurance/areas with heavy traffic, gymnasiums and so on. The past few years saw substantial growth of the company which has over 160 dealers and 6 display centres in Dhaka, Chattogram, Rangpur, Sylhet and Barishal, with plans to expand to Khulna and Rajshahi. DBL has also made significant investments in reusable resources and waste water management, amongst other sustainable initiatives. In an attempt to reduce waste water, DBL has installed waste water treatment plants capable of treating 18,720 cubic meters of wastes by product everyday. State-of-the-art machineries at DBL SACMI kilns to turn clay to ceramic, Ball Mills for fine grinding, and Air Power glazing line–most of DBL’s machineries are energy efficient motors. They have inverters, energy cogeneration system, machines to reuse energy from kilns and dryers, along with other equipment to reduce wastes. To add a bit more automation to the mix, the company has Techno Ferrari for handling and storage. Ceramic Bangladesh Magazine visited DBL’s Gulshan office recently and sat with its head of operations Md. Bayazed Bashar to discuss his experience in the industry, future plans of the company, export difficulties, and more issues. DBL is a relatively young company but has fast become one of the top tier tiles manufacturers in the country. It has some of the best showrooms in the country and provides clients with an immersive experience, allowing them to visualise the product better. “Ever since I joined DBL, I’ve had unwavering support from our management. I was on project implementation when I joined, and I am thankful for the faith our management had in us, which consequentially resulted in our performance and growth” said Mr. Bashar. “DBL ceramics is the first diversified project for the DBL Group. We have an R&D (research and development) team working on innovation and we have become one of the top brands within a short time. We uphold our standards through our service quality and innovation,” he said. In terms of growth, DBL has been adding a production line every alternative year, and now has the capacity of producing 35,000 square meters per day from the initial capacity of 8000 sqm. The conversation ensued as we talked about the initial steps of a career in the ceramic industry, Mr. Bashar said, “It’s very difficult to find a mentor who can guide you in the earlier years of your career, especially after graduation. A mentor can help you choose the right track, giving you opportunities, and helping you polish yourself. I’m really happy to have had the opportunity to join DBL Ceramics, and found my own mentor here.” He added, “I have seen individuals get frustrated with their jobs if/when they get no opportunity to work on their competency. Once given the opportunity to explore, a working professional finds more interest in his work and solidifies into an asset for his company.” When asked about the hurdles of a career in this industry, Mr. Bashar recalled the tougher times and the ever-existing troubles. Having passed through them, he is now happy with where he stands and what he has learned through the experiences. He stated, “I am happy to have chosen this path for my career, considering that I was inclined towards doing what my friends did – going abroad for higher studies after graduation. Instead I joined DBL in 2007.” One of the most recent initiatives of the company is the Tiles manufacturing project in Sylhet. The extension is called Bright Ceramics – a tiles, tableware and sanitary-ware manufacturing plant, which will finish construction by the end of next year. DBL is also working on advanced ceramic products. According to Mr. Bashar, among some of the major drawbacks of this industry is import dependency. The added disadvantages due to incremental gas price and shortage create a much greater impact on the production cost. A shortage of gas supply results in on-and-off gas in the kilns – slows down in production. According to Mr. Bashar, the added cost has only been inflicted on the manufacturers and the customers are unaffected. “The duty structure really surprised everyone. We are paying full duty on imported clay that is 25-30 per cent moisture.” Mr. Bashar pointed out. On a brighter note, DBL will be the first player in the subcontinent to incorporate Industry 4.0- allowing it to collect data analysed later on a big screen. AI for DBL Ceramics DBL has already started with AI (artificial intelligence) for ceramics. It is planning on a full automation for the factory that will function with minimal human intervention. Mr. Bashar could only tell Ceramic Bangladesh Magazine that the AI software is being developed by an international IT company, and soon, will be set in motion. Concerning imperatives Some of the
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CERAMIC EXPORTS BUT CHALLENGES THWART INDUSTRY GROWTH
Bangladesh’s ceramic industry shows signs of recovery from the global pandemic effects with much higher potential, in terms of both domestic and foreign market demand apart from enthusiasm among and endeavours by the entrepreneurs to see it shining. However, the ceramic sector growth has slowed since manufacturers cannot deliver products on time owing to disruption or shortage of supply of gas as the key factor of production. Bangladesh’s exports of ceramic products rose to a four-year high in the 2022-23 fiscal year but could not yet match the level of exports recorded in 2018-19 fiscal year, the year before the pandemic struck the country. The country’s export earnings from the ceramic sector stood at $43.39 million, 13.22 per cent lower than the target of $50 million export set for the fiscal year 2022-23. It was still about 5.0 percent higher than the earning year before. The export of ceramic products was $41.36 million in 2021-22, $31.11 million in 2020-21, $27.97 million in 2019-20 and $68.97 million in 2018-19, according to Bangladesh Export Promotion Bureau (EPB). The country exports ceramic products to 53 countries and the domestic market size of ceramic items is around Tk 80 billion. These figures underline the fact that the country’s ceramics industry has turned into a booming manufacturing sector over the years, cashing in on growing demand both in domestic and international markets. “Manufacturers could not run factories at full capacity due to inadequate supply of gas. This was the main reason the sector did not achieve expected export growth in the last fiscal year,” said Irfan Uddin, General Secretary of the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA). Also, he added, the demand in the international market has not increased unlike expectations, due to the Ukraine-Russia war. The gas crisis hit industries last year after the government paused purchasing liquefied natural gas directly from the international spot market to stop depletion of foreign currency reserves, leading to a drastic fall in energy supply. Mr Irfan Uddin said manufacturers did not get the gas supply for around 12 hours a day since last October. “So, we could not make products on time. As a result, we were not able to supply goods against around 30 per cent of the orders,” said Irfan Uddin, also Director at FARR Ceramics Ltd. He, however, appreciated the government for providing a 20 percent cash incentive against exports of ceramic products, terming this as encouraging for the ceramic exporters. M.A. Jabbar, Managing Director at DBL Ceramics, said the business of the ceramic sector is going through a difficult stage due to increase in the production cost and the gas crisis. “Absence of uninterrupted gas and power supply and increase in the cost of production hampered production, ultimately affecting the exports of ceramics,” he argued. The entrepreneur said owing to disruptions in gas and power supply, the sector has faced a big challenge in maintaining quality of products Local ceramic manufacturers mainly produce four types of products: tiles, tableware and sanitaryware and ceramic bricks. Of the 70 manufacturers currently operating, twenty produce tableware, thirty two make tiles and the rest produce sanitaryware and ceramic bricks. Bangladesh mainly ships tableware and has added tiles, sanitaryware & ceramic bricks to the export basket in recent years. According to Mr Jabbar, considering the ongoing high inflation environment, manufacturers are not in a position to raise prices of their products despite an increase in their cost of production. As a result, the profit margin has plunged to the lowest level Ruslan Nasir, Deputy Managing Director of Mir Ceramic Limited, said tiles manufacturers export on a limited scale and contribute an insignificant amount to the export basket. The company mainly exports to the north-eastern states of India. Ruslan Nasir said local tiles manufacturers are focusing on the local market since demand has grown over the past decade, thanks to rapid urbanisation. “There is a lot of competition in the tiles segment globally. And since the sector is dependent on imported raw materials, it will take time for the local producers to grab a significant share of the international export market.” He, however, sees a bright prospect of the tiles segment since Bangladeshi manufacturers produce world-class products. BCMEA President Md. Shirajul Islam Mollah said, “At present, two major problems of the ceramic sector are gas and dollar-crisis. It is facing a challenge. We are not getting uninterrupted gas even with increased prices. Most of the factories in the ceramic sector are in Gazipur. Due to the gas crisis, the production of factories here has dropped to 40-50 percent. Again, the gas situation is somewhat better in Bhola and Habiganj, but there is a problem in Narsingdi and Rupganj. Production of most factories is disrupted due to the gas crisis. Overall production is going down by 40 percent due to the gas crisis. So the production cost is also increasing and exports are facing challenges.” Ceramic manufacturing companies are also facing problems in opening letters of credit (L/Cs) for import of raw materials due to dollar shortage. He said 90 per cent of the raw materials of ceramic products are imported. Meanwhile, the increase in dollar and gas crisis, on the other hand, due to the increase in ship fares, the cost of production has increased by 30-35 per cent. Due to the gas crisis, the tiles could not be produced according to the market demand in the last winter season. It is not possible to use more than 60-70 per cent production capacity of the factory According to the National Board of Revenue (NBR) data, imports of mineral clay — ‘China clay’ and ‘Ball clay’, the main raw materials for ceramic products — fell by 17 per cent in the fiscal year 2022-23. Now, it takes 15 days to open L/Cs for raw material imports compared to only two days for the purpose, due to the dollar crisis. Thus there is a shortage of raw materials in the factories. He said, ‘All in all, the ceramic sector
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Monno’s Modular Aesthetics in Simplicity In coherence with the décor, tableware can add grace and is an element that never goes unnoticed
The word “tableware” means any “dishware” used to serve food on. This can be from glassware and ceramic tableware to even banana leaves. The word takes under its umbrella, literally anything that is used to serve food on. Tableware is now categorised into four segments- serveware, silverware, dinnerware, and glassware. Finding the perfect tableware to compliment your taste can be a hectic feat. This can, however, be countered with a thorough online research or a few visits to local showrooms. To truly understand the design concept and versatility of a ceramic product, you need to dive deeper. And in this segment of Ceramic Bangladesh Magazine, we intend to guide you through a product we deemed fit and worthy for an exclusive mention. FEATURED PRODUCT Here, in this segment, the tableware we decided to putout is Monno’s modular collection, launched this year. Monno is one of the largest ceramic manufacturers as of now, and initiated with porcelain tableware. With the esteem that comes with the brand, weighed furthermore by a young British designer called Billy Lloyd, the Modular collection has been crafted with the aim to mostly export. Monno, sole manufacturer of this collection, has crafted the Modular collection as a downright product for catering services, events, hotels and restaurants, among other hospitalities. Currently the collection is being exported to the UK, Italy, India, and Qatar and is also available in Monno’s flagship outlets. THE DESIGNER Designed by a British artist named Billy Lloyd, the Modular Collection features sleek and slender design wrapped in white. Billy Lloyd, the young designer, spent his earlier years working as an apprentice to Julian Stair (an acknowledged potter), and learned to throw porcelain on a potter’s wheel. After four years of apprenticeship, he opened his own shop and soon became a popular ceramic designer in London. Billy Lloyd joined Monno later on, as a creative director. Regarding the upcoming, Mr Lloyd said: “Recently, we launched Modular, a versatile bone china hospitality concept and a porcelain range entitled Bistro, which is a stacking collection of porcelain tableware with a European aesthetic. Our hope is always that we can play a role in evolving the taste and direction of the domestic market in Bangladesh, while simultaneously appealing to the ever-important export market. What is to come next… watch this space Made of Bone China, the Modular collection is perfect for a restaurant or a hotel setup; and also for catering services. The tableware is visually elegant, stackable, and durable for a busy venue. The maximum size being 380mm X 130mm oval dish, all products of this collection are made minimally for an average sized spread on a table. The Modular collection was inaugurated in London, and has gained popularity already. We don’t know much about the local response but considering the elegance of the shapes we expect to see this product flourish. “Working as Creative Director for Monno for the last five years has been very creatively rewarding as I have been allowed the opportunity to touch on numerous facets of the company, from design to business development,” said Billy Lloyd. “My role is not only concerned about tableware design, but also very much about how we communicate the company as a brand especially to the international export market, both Retail and HoReCa. I have learnt a great deal and am grateful to the Monno family for instilling such trust in my vision.” Written by Chisty Rahim
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UNESCO World Heritage Site SHAT GAMBUJ MOSQUE Architectural Evidence of History
Bangladesh, the land of beauty, is glorified with various heritage sites which prove rich culture and heritage and blend of beautification in every sphere of the architectural works. The administrative district of Bagerhat under Khulna division of southern Bangladesh is famous for its archaeological richness. The historic mosque city of Bagerhat, the Shat Gambuj Mosque (Sixty Dome Mosque) is the most magnificent and the largest enclosed type mosque built by Khan Jahan Ali in Bengal. It is the largest historical mosque in Bangladesh from the sultanate period (1352–1576). It has been described as one of the most impressive Muslim monuments in the whole of South Asia. It is famous for its sheer size and stunning architecture among many heritage sites. The Shat Gambuj Mosque is located five kilometers from the main town of Bagerhat. It is situated by the eastern bank of the Ghoradighi which has increased the beauty of the Mosque remarkably. The amazing construction work of the mosque started in 1442. It ended in 1459 and is a proven example of glorious history and beauty declared by UNESCO as a world heritage site in 1985. In the mosque, Muslims offer prayers (Namaz) five times a day and Eid prayers also take place here. Every Friday at noon, more than 5,000 people pray Jumma prayers here and visit the Shat Gambuj Mosque and explore the beauty of historical evidence since long-gone centuries. The building of Shat Gambuj Mosque began in the middle of 15th century with establishment of a Muslim colony near the mangrove forest, the Sundarban, another UNESCO heritage site in Bangladesh. The colony was founded by a revered general named Khan Al-Azam Ulugh Khan Jahan. He was also a great and famous Muslim saint and the local ruler of Khalifabad (present Bagerhat). Khan Al-Azam Ulugh Khan Jahan conquered the greater part of southern Bengal and the prosperous area was named Khalifabad in honour of the reigning Sultan Nasiruddin Mahmud Shah (1435-59). Khan Jahan ruled the region with the seat of administration at Haveli-Khalifatabad, identified with present Bagerhat, till his death in 1459. He had built many structures for the well-being of the people in that locality. He made water tanks, mosques, madrashas etc. Shat Gambuj Mosque is his greatest creation. Khan Jahan Ali was widely known as the great architect of historical mosques around the South Asian Subcontinent, who embellished the entire Bagerhat region with more than a dozen mosques under the patronage of the Sultan. The ruins of which are focused around the most imposing and largest multi-domed mosques in Bangladesh. The legacy of Khan Jahan Ali is vividly evident in his architectural works. He preached in this affluent region during the reign of Sultan Nasiruddin Mahmud Shah. Shat Gambuj Mosque is a wonderful proven archeological beauty that is the signature of the 15th century. The planning of the mosque is a living example of the Islamic architecture and the decorations remind us of the blend of Mughal and Turkish architecture. The Mosque is also known as the Sultanate Mosque, which was used for ruling the area and a court at that time. The mosque was not used only for prayers, but also as a madrasha and a parliament assembly hall. Though the Shat Gambuj Mosque refers to a mosque with 60 domes or Roof Gambuj. However, it actually has 77 squat (low) domes, arranged in seven rows of eleven, and two-storied four high domes or tower on four corners, bringing the total to 81 domes. Two of these four high domes or towers were used for Azan or the call for prayers. On the east side of the mosque, there are 11 arched doorways, while the north and south each have seven doors. These arched doorways also providing ventilation and light in the hall. The interior is divided into seven longitudinal aisles and 11 deep bays by 60 slender stone columns, which culminate in numerous arches that support the roof. The vast prayer hall of the Mosque has walls of unusually thick, tapered brick in the Tughlaq architecture style of Delhi and a hut-shaped roofline that anticipates later styles. The inside space of the mosque is 48m x 33m (160 feet x 108 feet = 17,280 sq feet), and the wall of the mosque is almost six feet (1.8m) thick. To enhance the mosque’s attractiveness and give it an exceptional appearance, the entire structure is constructed of red burned mud or bricks. The Turkey style of architecture was followed using tempered brick in the mosque. The detailing of the mosque is prepared with terracotta decoration. So anyone can notice the exquisite detailing around the doors with beautiful design. Inside the mosque, the walls are crafted based on the former Muslim cultural tradition. The atmosphere inside the mosque is cool and comforting for the unusual thickness of the wall. Inside the mosque, among the ten “Mihrabs” the central one was built of stone and a special doorway had been built in “Qibla”. The central mihrab, which corresponds to the central nave, is bigger than its flanking counterparts and shows a rectangular projection on the outer side, carried up to roof level. These mihrabs are also decorated with stonework (grey sandstone) and terracotta and the floor of the mosque is made of brick. Its ornamentation is in the Muslim style of carving in shallow and low relief. The mosque yard is surrounded by an old, ornamented boundary wall. The enclosed compound was originally entered through two gateways – one in the east, now restored and repaired, and the other in the north, no longer extant. The eastern gateway, facing cardinally the central archway of the mosque proper, appears to be a monument by itself. It measures 7.92m by 2.44m and consists of an archway having a span of about 2.44m with a beautiful curvature on top. Now there is a picnic spot beside the mosque area around the historical Ghora Dighi. There is a museum in the mosque area which is situated to keep the historical
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Architect Mubasshar Hossain An Eternal Soul Flown Through Eternity
Human life is a shirt journey Every human is born with a purpose that differs from man to man. Some of us can fulfill all the purposes. We might spend an ordinary life with the only aim to earn daily bread and butter, save money and lead a secure life. However, there are others who dedicate their entire life to the betterment of society, country, and the world. Their great deeds have no political or religious boundaries. The grandiose of their presence remains a feeling of reliance for all.
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A story of Rewards as lateral Awards
Architecture is a practice, a profession. Is it only that? To many, it might be, but to a few, it is a form of emotion or a meaningful impact on public realm as well. Architecture is not only all of the above, but beyond. The arena is not just there to make boxes to accommodate functions. It needs involvement of humans, life, psychology, sociology, economy, and every other vital aspect to shape a living standard. From micro to macro, from master planning to interior designing, the field is vast to explore. Architects need to be sensitive and sensible enough to practice these opportunities of responsibilities. VITTI Sthapati Brindo Ltd., co-founded by architects Iqbal Habib and Ishtiaque Zahir Titas, is one of the few firms in Bangladesh that focuses on all these aspects. In the past 32 years, Vitti has accomplished master planning, building designs, and interior designs for both public and private realms. The story cannot be shared in short. For them, the project experience speaks more intensely than words. The architectural projects of Bangladesh are pinning their existence on the global map, earning a lot of recognition and awards. Vitti as a firm has also received many prestigious ones, but to them, these accolades add value to the projects and compel Vitti to act more responsibly. Their main source of success is the lateral returns they receive from projects started for the benefit of common people. Their success is determined by the impact of their designs on the lives of Dhaka dwellers. Again one such initiative that has had a significant impact on bridging the gap between Dhaka’s eastern and western neighborhoods is HatirJheel. Since most of Dhaka is densely built up, the journey along the lakeside is a splash of fresh air. But it wasn’t an easy journey to create this dream project. “We opposed the initial house planning for four and a half years, as well as the commercial expansion of Kawran Bazar in the Hatirjheel neighborhood. I noticed a model of the planned housing was in the RAJUK chairman’s room. In a conversation, he excitedly shared how the housing plan advanced to landfill the waterbody. High land price was their excuse,” shared Ar. Iqbal Habib. With the help of respected specialists in the environmental and other sectors, they launched a protest that helped to create the experience we live in today. It was more than simply a project; it was a vision and a dream. People in Dhaka never imagined that it would be possible to go from Gulshan-1 to Tejgaon by waterbus. The smiley face of the waterbus user is rewarded for the architects. The stories are always greater than the projects. Large-scale initiatives by Vitti are illustrations of how perseverance can bring big dreams. This serves as motivation for individuals and aspiring architects. Dhaka’s parks and playgrounds have recently been refurbished, giving the city some much-needed green space. Twenty-seven parks, mostly in the northern part, were designed by Vitti. But what we see is the result: stories that were not designed on pen and paper. The permission to revitalize these parks was also an achievement after a social movement. How were the parks designed? Ar. Ishtiaque’s response to this query was, “The development of these parks was designed by users, children, who have the primary rights to the space. We provided them with Minecraft, and they designed their parks. We ensured those children, female children, the elderly, and especially abled people had facilities and access to parks. We wanted people to be inspired by the space that they designed, that we enhanced, and that we built.” The project was executed with a focus on collaboration and inclusively, which has resulted in park and playground that truly serve the community. This project involved active participation from the user group and young children who were given the opportunity to express their desire for the space through a participatory questionnaire survey. Hence the designs are an example of successful co-creation as a process, it create a sense of ownership and pride among the community. However, the success of the project can be attributed to the careful co-management of all stakeholders involved, including professionals and the community. People’s contributions influence the nation’s daily growth. And these tales are examples of growth through adversity and success. Architecture in Bangladesh should be for and at times created by the general populace. At this juncture, the nation requires user-centric design, particularly in public domains. “Vitti—The Atelier” was established in 1991 under the direct supervision of subcontinental Master Architect Muzharul Islam. In 1993, three youthful architects, Ishtiaque Zahir, Ehsan Khan, and Iqbal Habib, founded “Vitti Sthapati Brindo Ltd.” from the “Atelier.” Currently, there are ninety members on the team, including architects, CAD specialists, engineers, administrative employees, and support personnel. “As fresh graduates in a very challenging time of transition period of democracy in the country, our spirit was at the top level. The thirst for working hard and serving the society was there within. We believed architecture is a practice that needs guidance from a leader, hence walking in the ideology of the Master Architect Muzharul Islam, who believed every aspect of human life and the nation as a whole is included in the framework of architecture. Vitti’s motto has always been to create an umbrella under which diversified projects are practiced and ideas are groomed. We try to grow as a group rather than as an individual entity,” concluded Ar. Ishtiaque Zahir Titas.
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Mrith Shilpo The Art and the Artists
A blurred memory of seeing clay art somewhere on the Dhaka University campus, and visiting places of art, exhibitions, and festivals – are all part of socio-cultural development during our childhood. These products are home decors, visually soothing and adds a warmth in the ambiance. An urban woman would plant trees in clay pots and vases. Sometimes she would use clay tableware to serve food. Growing up, clay came into our life in many ways. Apart from the aesthetics of a clay art piece, the artifacts feel grainy when touched and can be turned into mush and moulded into something new. A younger version of us would want to break them and glue them back together with wet clay. So, finally visiting the shops on DU campus brought back the childhood memories. It took Ceramic Bangladesh authors two visits to learn the insides of the trade at Doyel Chottor Mrith Shilpo (Pottery) shops. We met three of the oldest shop owners there, and through conversation, they shared their experience – the goods and the bads. Abul Kashem was one, a 72-year-old man, who has been in the Mrith Shilpo business for 36 years. The oldest there, the artist designs the products and sometimes moulds the clay as well. His teenage years started with a job in a fishing trawler, and living on the water with all its waves and splashes. What scared him during his voyages on the boat were pirates. He left the job after experiencing one attack and came to Dhaka to look for work. Mr Kashem came across merchants from the Paal community in a festival in Shishu Academy where he was running his tea stall. The merchants came from Savar’s Nobinagar area and sold some of their products to Mr. Kashem or Kashem chacha as an old man is called in this part of the world. “I got the products at a low price from them, because I bought all their leftovers,” he recalled. He sold his f irst lot in the book fair. Kashem chacha now buys the products from Cumilla, Shariatpur, Gazipur, and Tangail. He said the Covid-19 pandemic took a big toll on his business, now it’s better, however. He makes Taka 15,000 a month by selling these products and his family lives a tight life. But he is still happy doing what he loves to do. “All in all the business is not that bad, I mean, we are surviving here. I truck in my products from different parts of the country: Ektara from Kushtia, Lamps from Khulna, Potteries from Cumilla and so on. The Metro Rail Authority supports us now and has given us cards to claim a shop when the paperwork is done.” Digging Deeper The biggest threat to the shop owners here, was that there is no permanent paperwork for them that could potentially protect their shops. The shops are legally said to be temporary and the Metro rail project has decreased the customer count and the buzz in the shops has come down. However, promises from a member of parliament has given them some hope. It was, however, relieving to hear that the students of the university, Charukola, VC of the University are the people behind the success of these stores. “They inspire us,” one of them said. Mohammed Baharuddin, 52 years of age, who runs Siyam Mrith Shilpo and Handicrafts, said he came to Dhaka from Noakhali when he was 12 and now has three children. The family survives on what he earns and they are doing well. “I have been in this business for 30 years. I met the potters from the paal community in a festival,” said Mr. Baharuddin. The teachers and faculties of DU know about the hardships of this business and also value what these shop owners do here. So, he said, 29 of them got together to write a letter to the ministry, pending a reply. “I fear that even though the chances are there, someday someone will come and uproot us from here.”- Mr. Baharuddin said. Mohammed Saiful Islam, 53, owner of Doyel Mrith Shilpo, said “I was born in Rajshahi, in Zafapur, and before coming into this business I sold vegetables. The 1988 flood took away everything from me, so I moved to Dhaka and thought about joining the pottery business. My brother-in-law was in this business from before, and he gave me one of his two shops, and that’s how I got started.” Mr Saiful’s son studies in Dhaka University, and this business has made it possible for him to educate his children. His daughter is also married into a loving home, and currently they live with his mother and wife in a small but warm apartment in the city.
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Stymied awhile, Bangladesh trying to make a rebound
Bangladesh, one of the fastest-growing economies globally, had outperformed its South Asian peers and many developed economies until the outbreak of the Covid pandemic in 2020. It has been trying to be back on track after a downturn. Overcoming difficulties, Bangladesh has been able to perform better on some fronts. Needless to say, its macro-economy is standing on a strong footing and relatively stronger. In such a context, finance minister AHM Mustafa Kamal has recently hailed the International Monetary Fund’s (IMF’s) decision to approve a $4.7-billion loan programme to help protect foreign exchange reserves. Bangladesh has to import consumables such as food grains, sugar, edible oil, spices, and raw materials for ceramic industry and other manufacturing sectors, petroleum products, fertilizer, cotton, yarn, chemicals, machineries etc. But prices of essential commodities shot up along with disruptions to the supply chain following the Russian invasion of Ukraine since 24 February 2022. Against this backdrop, trade experts and sector insiders blame the country’s overreliance on imports for its recent f inancial crisis. Poor or no production of raw materials and goods locally is also putting a strain on its foreign exchange reserves. The country’s current account deficit had further widened in October 2022 as imports continued to surge compared to the combined receipts from exports and remittances, analysts said, adding that the main reason behind this surge is the yawning trade gap. According to the central bank data, the current account climbed to $4.5 billion in deficit as of the end of October last year against a deficit of $3.83 billion in 2021. As stated by bankers a few months ago, the pressure on foreign exchange is still there because of the payment obligations against the letters of credit (L/Cs). The global market is currently seeing an unusual movement in the prices of various commodities due to the prolonged Russia-Ukraine war. From fuel to daily essentials, industrial raw materials and machinery, Bangladesh has experienced hyper inflation in its internal market. Figuratively speaking, the fuel price hike is truly fuelling the inflationary pressure. Things have got this bad as the prices of natural gas and electricity along with daily commodities hiked further after the IMF had attached strings with its $4.7-billion loan package. However, businesses believe that the IFM loan will give some relief to the economy, but economic anatomists, experts and businesses warn that the country’s problems will not be solved so easily due to pressure on balance of payments (BoP). Bangladesh has seen sizable growth in exports unlike that in remittance flow but it has seen a major shortage in the supply of foreign currency, especially US dollar, because of the abnormally high growth in imports. There are six sources of foreign exchange earnings for Bangladesh: Exports, Remittance, Foreign Direct Investment, Tourism, Investment income abroad and Foreign loans or grants. But none of the first four are strong, rather in declining mode. Despite huge money laundering abroad, the central bank is yet to open the door for investment there. In this situation, Bangladesh is becoming more dependent on foreign loans for mega development projects. But there are not enough sources of foreign exchange earnings to pay off import bills and foreign debt. Apparently falling into the middle income trap, this crisis may become dire and the exchange rate may have to fall frequently to manage the crisis. As a result, inflation may become more f lagrant. Potential, Yet Troubled Ceramic Industry With increased urbanization and infrastructural development over the years, the ceramic industry is recognised as fast-growing as demand for ceramic products continues to mount. Overcoming many obstacles, more than 70 ceramic (tableware, tiles and sanitaryware) units have been set up in the country for exports and imports substitution with a local and foreign investment of Tk 150 billion. However, an erratic rise in gas prices has become a major problem in this gas-dependent industry. The ceramic sector is a highly potential labour-intensive industry. Since machinery, technology and raw materials (most of which are natural minerals) are not available in the country, the local industry has to compete in both domestic and international markets with the countries, which are rich in raw materials and technology, in selling imported products. As the competing countries have their own machinery, technology and raw materials, they enjoy comparative advantage. It is thus necessary for the home-grown traders to stay buoyant locally and globally by reducing additional expenses. The average cost of production of ceramic products has increased between Tk 5.0 and Tk 7.0 per kilogram. Recently, the government increased the price of natural gas by an average of 150 per cent, and the production of such products has increased by Tk 7.0 to Tk 10 per kilogram for increased gas prices. Balance of Payment Financial experts say macroeconomic shock was not only due only to the war. In fact, the fiscal year 2021-22 witnessed abnormal growth in imports, triggering the highest trade deficit in the country’s history. The balance of payments (BoP) has remained negative in the first half of the current fiscal year, depicting a plethora of challenges Bangladesh is facing in protecting its foreign-currency reserves from depletion as fund outflows exceed inflows. Inflation Experts believe real inflation may be higher than the estimated one, maybe in a range of 12-14 per cent. However, the Bangladesh Bureau of Statistics (BBS) revealed that inflation was estimated at 8.57 per cent in January 2023 while it was 8.71 per cent in December 2022. Inflation will not go down if the dearth of dollars stays. What Bangladesh needs to do is provide the market with adequate supply, otherwise price hikes will continue. Remittance The finance ministry very recently raised the incentive on the remittance exchange rate to 2.5 per cent from the previous 2.0 per cent as money transfers from remitters abroad saw a 21-per cent year-on-year fall in the July-November period. To stop illegal hundi transactions, the government first increased the cash incentive to 2.0 per cent, then to 2.5 per cent. But transactions through hundi
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RAK LIKES BEING ITS OWN RIVAL
The ceramics industry in Bangladesh has a huge potential in terms of sustained infrastructural development the country has witnessed over the years. The construction sector has boomed, thanks to growing property development, housing, rehousing, gentrification and urban renewal. Building industry involves so many materials for exterior and interior décor and furnishings. Ceramic is an essential component of interior ornamentation to give a structure, be it a modern house, hotel, motel, cottage or a corporate office, both elegant look and taste.
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Enhanced engagement between Banks and Ceramic Manufacturers essential : NBL DMD
National Bank Limited (NBL) Deputy Managing Director Hossain Akhtar Chowdhury tells with Ceramic Bangladesh an exclusive interview that the ceramic sector needs a huge investment in the future.
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Poems and Pottery
For ceramics, you only get one chance to impress a viewer. The first impression, which is notoriously, the last, has to be a solid ¨I like the design¨ or else no matter how the shape or the glazing is, the same person will not give a second look at it. This is where designers come in. The designer envisions shapes and colours and creates enthralling pieces of ceramic ware. S/he not only comes up with the idea of the product, but also decides on the technical aspects that work behind every output.
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O’Play A playful combination of colours and spaces
Imagine being able to spend a peaceful evening with your loved ones in the middle of Dhaka’s hectic city life, where indoor and outdoor areas flow together to form a kid-friendly environment. And now, in O’play, it’s all come to life.
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Designing Dreams with Precision
Momen Real Estates Ltd. has been in the real estate market for a while building a successful national company. The company’s founders have been actively involved in property development since 1987. After completing a few projects with business partners, they founded their own private business house, MRS Properties Ltd., as a family-owned private company in 1995. In 2001, the business was renamed as Momen Real Estates Ltd.
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In the Vicinity of Khan Jahan Ali’s Alligators
What does birth inside your psyche when you hear the word mazaar? For many, it might be that gush of inexplicable zany feeling that stems from your experiences related to a mazaar, which is, in other words, a shrine. Common symbolisation of the religious or spiritual sites in the sub-continent especially in Bangladesh, mazaars is indeed an eccentric space. Spaces, which are onerous to describe with words unless you have actually- not only experienced it, but internalised its truest weirdly ethereal essence, putting aside all your biases, particularly religious ones. And each one has its own set of personalities.
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The City of Rejuvenating Souls Longest sandy beach, scenic beauty and roar of the sea make Cox’s Bazar a unique tourists’ destination
One can search for his/her soul by listening to the roar of the sea, as Jamie Lyn Beatty noted, “Jobs fill your pocket but adventures fill your soul.” To escape the monotonous, busy, and chaotic schedule of regular life, one can open and close the eyes taking shelter in a unique sea beach for refreshment of the soil. You can roam around the beach, soaking feet in the seawater and taking fun from beach activities and enjoy seafood and the sunset with friends and family. It’s the city of scenic beauty and peace, called Cox’s Bazar, where you can take a fresh breath of life.
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MODEL MOSQUES A Unique Gift to Society Message of peace, culture of harmony to be promoted in society
Mosque is not just a place of worship for Muslims; it’s the common most place of meeting and congregation of the followers of the religion of peace, Islam. It’s not only a holy place; it helps spread the message of love, friendship and brotherhood. Mosque is not merely a place that involves spirituality but also deals with worldly affairs; It’s more than that.
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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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Ceramic Expo Bangladesh 2022 Getway to Explore Ceramic World
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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