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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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