13TH ISSUE
Brac University’s New Eco-friendly Campus: A Blend of Nature and Innovation
As you travel from Rampura to Badda in Dhaka, the imposing concrete structure in Merul Badda is hard to miss. Initially, it might seem like an industrial or commercial complex due to its sheer size on just 7 acres of densely populated land. However, its true purpose as a university is revealed once you step inside. The ‘triple height space’ design allows for free access to light and air, featuring long escalators connecting various parts, amphitheater-like stairs, and several ‘urban windows’ at the top. The building eschews unnecessary glitter, embracing the raw form of brick and concrete both inside and out. The carefully arranged garden adds a touch of greenery, making it an inviting space for students without any sense of grandeur. Inspired by the Sundarbans ecosystem, Brac University’s new campus seamlessly blends nature with architecture. Designed and constructed by experts from Singapore, China, and Germany, this campus in Merul Badda, Dhaka, stands as Bangladesh’s first eco-friendly and sustainable inner-city campus. Last February, Brac University’s new campus was inaugurated with the theme “In the call of green, the call of the future.” Tamara Hasan Abed, Chairperson of the Board of Trustees of Brac University, highlighted the university’s commitments to academic excellence, cultural prosperity, and environmental conservation. She also spoke about the university’s goals and plans to promote a holistic educational experience through environmentally friendly activities, local performances, and discussions. Founded by Sir Fazle Hasan Abed, Brac has always distinguished itself through various creative and innovative initiatives. Over the past two decades, Brac University has achieved significant milestones in higher education, research, and international competitions. Despite this, the lack of a permanent campus was a major limitation. Although there was a residential campus in Savar, it was only available to students for one semester. All other educational activities were conducted in multiple multi-storied buildings in the Mohakhali area. The new Merul Badda campus now provides a permanent, eco-friendly, and sustainable space for all students. Designed by the r e n o w n e d S i n g a p o r e – b a s e d architectural firm WOHA Designs Pte Ltd., Brac University’s new campus is a marvel of modern architecture. Key figures involved in the project include Professor Fuad Hasan Mallick, Dean of Brac University’s School of Architecture and Design; Zainab Farooqui Ali, Chairperson of the Department of Architecture; and Project Architect Shafiqul Islam Suman. This 13-story building with three basements is designed to accommodate around 15,000 students, reflecting a commitment to environmental consciousness. The design allows natural light and air to flow freely, featuring state-of-the-art facilities. Cutting-edge technologies such as cross ventilation, a hybrid thermal management system, and aerodynamic fins ensure optimal airflow. The greenery covering the building enhances the oxygen supply, while the hybrid cooling system maintains clean air in classrooms, helping students stay focused for longer periods. Impressively, the building saves 40% of its energy by reducing reliance on air conditioning. The campus sits on a transparent reservoir, with rain chains installed to collect and store rainwater, which is used to irrigate the building’s plants, and any excess fills the reservoir. Additionally, the campus boasts an advanced sewage treatment plant for waste management. This energy-efficient design uses a total of 5.5 megawatts of electricity, with 25% sourced from solar panels on the roof. For a facility of this size, this is considerably efficient compared to the usual 8 to 10 megawatts typically required. The interior of this aesthetically pleasing building is mostly open space, encouraging student interaction, extracurricular activities, and co-curricular engagements. Design considerations also include universal accessibility standards, ensuring ease of movement for people with special needs or disabilities. The new campus is not only a hub of academic excellence but also a beacon of sustainability and innovation, paving the way for future educational institutions in Bangladesh. Tamara Hasan Abed, Chairperson of the Board of Trustees of Brac University, emphasized the inspiration behind the eco-friendly campus and the educational philosophy of Brac University’s founder, Sir Fazle Hasan Abed. She explained that Sir Abed envisioned a university where education and free intellect would harmonize with nature. This new campus, a blend of nature and modern architecture, aims to teach future generations to think differently about life. She also highlighted the importance of innovation and creativity in urban development to protect nature. This campus will set a benchmark for students, planners, and stakeholders in urban planning and e n v i r o n m e n t a l conservation. Acting Vice-Chancellor Professor Syed Mahfuzul Aziz expressed his determination to develop Brac University’s new campus as a laboratory of knowledge and science. He stated, “We aim to develop this new campus of Brac University as a laboratory of knowledge and science. We expect that we will develop this university as a flagship university of Bangladesh by providing quality research and high-quality education. We are working towards that goal.” Professor Dr. Fuad Hasan Mallick, Dean of the School of Architecture and Design at Brac University, mentioned that discussions about building a permanent campus began after the establishment of Brac University in 2001. Several discussions with Sir Fazle Hasan Abed led to the selection of Merul Badda as the site for the new campus. One challenge was finding such a large land area in Dhaka, and Sir Abed wanted the campus to be located in Dhaka itself. In 2009, Sir Abed started planning the campus’s construction and selecting who would build it. He aimed for a world-class and exemplary campus that students could be proud of. The responsibility of designing the building was given to Singapore-based firm WOHA, known for their environmentally friendly designs. Sir Abed also appointed legendary Bangladeshi architect Bashirul Haque as an advisor for the project. Once the functional program for the campus was determined, the draft was finalized with key figures, including the dean and chairperson of the university. Fuad Hasan Mallick then visited the WOHA office in Singapore to discuss the campus’s design, and they developed a scheme.
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POETRY IN BRICKS: In Memory of BASHIRUL HAQ
Poetry in brick – is how a happy client described the house that Bashirul Haq had designed for them. This short write-up is an effort to describe this poetry and the process by which it was created. Bashirul Haq (1942-2020) had the good fortune to grow up in an idyllic rural environment, where he, unbeknownst to himself, imbibed how people could live in close harmony with the environs, where human habitation merged seamlessly with its surroundings, without disturbing it in any way. The eastern region of Bangladesh, and Brahmanbaria in particular, where his village lay 6 miles away from the town, is notoriously overpopulated. But from afar, from a car or a bus, the landscape is not crowded by people, and villages are tucked away behind clumps of trees, by paddy fields or water bodies. This is the simple living style that Bashirul Haq, as an architect, tried to adapt and express in his urban buildings. Architecture and architects in Bangladesh are carrying on the quest that Bashirul Haq was on—to find a grammar and an idiom of building that speaks to our landscape, that carries on our building traditions, yet is modern and contemporary, and responds to the needs of its users. Bashirul Haq used to describe his life as a series of happy coincidences. Most prominent amongst these coincidences, he felt, was his choice of profession. He discovered that designing buildings could be a profession as he sat browsing the USIS library as an intermediate student at Dhaka College. This set him out on a search for where he could pursue this subject. BUET had yet to start its department, and this led him to the National College of Arts (NCA) in Lahore and to apply for an interwing scholarship. This was a great career move, as the NCA was in search of a local architectural idiom. Trips to Mohenjo Daro and Harappa organized by the department, studying Mughal building traditions, and being housed in a building that embodied Indo-British architecture, students were encouraged to explore their modes of expression. This early training was honed at the University of New Mexico, where he went for his postgraduate studies. The adobe building patterns there further honed the young architect’s search for design practices that spoke to the environment and a sense of history and tradition. Returning to Bangladesh in 1977, Bashirul Haq felt that he could translate this training and preparation into practice. He began with small projects, and the ‘poetry in brick’ mentioned earlier was a house built for Justice Abu Sayeed Chowdhury. From the beginning, he chose brick as the construction material of choice. It sprung from the soil—nothing else could be more indigenous than brick, he would claim. Brick had a long history as a building material in the region, and he felt that the color of the brick and the green surroundings were in total harmony. His brick buildings were distinctive, but it meant that they appealed to a selective group of clients. However, he stuck to his design principles and always tried to combine the local with the modern. The cost of building was a big concern. In his more institutional buildings, such as the BCIC building, he would look for ways of cutting costs without compromising on aesthetic quality. Glossy materials were not part of his designs. Even the high-rise buildings are quite quiet—they do not draw attention to themselves in any way. The site is used to orient the building as much as possible with its environs. He was a purist in many ways and did not believe in using brick as surface cladding but as the actual structural material. He would emphasize the maintenance-free nature of brick, which does not need to be repainted or plastered. He spent long hours in making this material more resilient to weather conditions, to make it waterproof, or to prevent the salinity that tends to seep through. Architecture and architects in Bangladesh are carrying on the quest that Bashirul Haq was on—to find a grammar and an idiom of building that speaks to our landscape, that carries on our building traditions, yet is modern and contemporary, and responds to the needs of its users. Brick remains prominent in the architectural design practice in the country. This preponderance of brick has led, we are told, to great atmospheric pollution. Bashirul Haq would contend that ethical brickmaking processes would minimize this degradation and had a calculation regarding carbon emissions in the production of brick versus that of cement, where the brick was better. He also thought that more efficient methods of production had to be devised, minimizing the effects on climate. He was interested in building with mud and had designed a mud building, which sadly remains unbuilt. Reinforced bamboo was another material that interested him. He had prepared a book on cyclone-resistant housing in the coastal belt of Bangladesh. This book contains a detailed description of a house in the Cox’s Bazar region, which had withstood the great cyclone of 1991. Bashirul Haq was a thoughtful and creative person who believed that buildings should blend into the existing landscape, rather than stand out as monuments that define the landscape. In today’s world, with environmental issues at the forefront, this is a good architectural principle. Written by: Professor Firdous Azim Photo credit: Al Amin Abu Ahmed Ashraf Dolon | Prantography
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TRAVEL BACK TO THE ROOT WITH JATRA
For now, you forget that you are in Dhaka city and go back to the rural roots. Thankfully, Jatra has made it possible in this city. Amidst the rigid and chaotic city life of Dhaka, if you need a break, miss the rural natural vibe, and want to have a warm and cozy time with a vegetarian meal in a colorful, mesmerizing rural Bengal ambiance with folk music, then surely “JATRA” is the place to visit. Imagine, on a moonlit night, you’re sipping tea under the sky, and a mesmerizing flute is blessing your ear; the breezy sound of the thatched roof plays along with the music. You look around and see the mud-textured wall, bamboo trees, fences, and traditional local art everywhere. For now, you forget that you are in Dhaka city and go back to the rural roots. Thankfully, Jatra has made it possible in this city. Amidst the rigid and chaotic city life of Dhaka, if you need a break, miss the rural natural vibe, and want to have a warm and cozy time with a vegetarian meal in a colorful, mesmerizing rural Bengal ambiance with folk music, then surely “JATRA” is the place to visit. Jatra was created in the year 2000 in Banani by artist and musician Anusheh Anadil to highlight Bangladesh’s folk arts and crafts. Harmony with nature is one principle philosophy of Anusheh. In Bengali, Jatra means ‘journey.’ The people and culture of Bangladesh are vibrant, and everywhere the “Jatra” is visible, that vibrancy and harmony are visible. The art and music lounge of Jatra is “Jatra Biroti.”. In 2023, Jatra was relocated a few buildings away, close to their previous address. The design is done by the “Roofliners_studio of architecture” in association with “Charuta” as the construction partner. Late Ar. Rajib Ahmed, Ar. Tesha Sarawat, and Ar. Monon Bin Yunus played an important part in the design of “Jatra.” They have shared their journey of designing “Jatra” with us. Ar. Tesha Sarawat said, “We are connected to Jatra from the very beginning. As a designer, as a friend, as an acquaintance, we contain the philosophy as well. The harmony of nature and human beings is the philosophy of Anusheh. We also believe that this helped us design the place. Jatra was a fun project. Guidelines were there; also, there was full freedom of designing. The experiment was there too. Adding, eliminating, and adapting from the mistake was the design principle that we’ve followed. We have got a building with a field. We have designed the entry in a welcoming way so that any passerby feels like entering the place without even realizing when they have entered. The performance space is seen from the road. Jatra wants to go closer to people and wants to take people closer to nature. It was all kept in mind while designing.” The main challenge was that the building was very small and congested when they got it. Small rooms, one door, like an old residential house. Also, the structure was brick. So they couldn’t break wherever they felt like. It was impossible without expert engineering advice. Eng. Mashroof Kabir was there, who advised on where to break and where not to, keeping the structure stable. In this way, the whole place became like an interconnected floor. So that, when you go inside, you become confused about the entry and exit, like a maze. Which is strategically good for a showroom design and is intentionally done in this way. The thatched hut, with a mud-textured wall with traditional ìPuthi artî throughout the wall continuing up to the roof in some places, bamboo seating, and a small ìgamchaî patterned flag with cozy and warm light, ensures very selective usage of interior detailing and the right execution of the concept of distinct rural Bengal ambiance. “One big multipurpose hall was added later; one structure of mango wood was added. One kitchen of the restaurant was added on the roof. Structurally, the building was two-and-a-half-storied. It was not very fragile itself. But the addition we were supposed to do could not be mistaken. No technical mistakes could be made while modifying. Keeping the permanent part, many things would be added to the design journey that we have decided on at the beginning of the design. Then we did this. It’s continuing. Every year something will be added. That is the journey. Jatra Biroti is the restaurant part, but the whole philosophy is jatra”, said Ar. Monon bin Yunus. It was just a building with a field. Old, but not very old. There was a plinth in the front, which is the hall room now. The plucked structures are not very permanent. Mango wood, hemp (Shaun), and tin are the types of materials that are used. The hall room is an important function but gives the vibe of a temporary structure. Plus, “jatra biroti,” the restaurant part has an extension on the ground floor, which is also of mango wood structure and hemp (Shaun). The restaurant part also continues on the roof and the top roof. Some interesting elements, like blocks and dice of blocks, are used on the roof. The old staircase is also there as an exhibit. Reusing almost everything from the old “jatra” is seen everywhere. The thatched hut, with a mud-textured wall with traditional “Puthi art” throughout the wall continuing up to the roof in some places, bamboo seating, and a small “gamcha” patterned flag with cozy and warm light, ensures very selective usage of interior detailing and the right execution of the concept of distinct rural Bengal ambiance. The courtyard, or “Uthan, is the most original and core architectural element of every rural Bengal homestead. This courtyard is the main attraction of “Jatra Biroti,” surrounding which is all the thatched-roof lower seating area in a small raised plinth with bamboo-silted woven curtains and colorful artworks. The idea behind it was to recreate a traditional courtyard of the delta. To build a warm, inviting
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The LEGENDS OF CERAMIC INDUSTRY IN BANGLADESH
The ceramic industry in Bangladesh boasts a rich heritage and has produced several legends known for their significant contributions to ceramics and overall company formation. The industry has grown substantially over the past few decades, establishing itself as a leading sector in the country’s economy. In 1992, with the rapidly growing ceramic industry, a nationally recognized trade organization of manufacturers and exporters of ceramic tableware, pottery, tiles, sanitary ware, insulators, and other ceramic products was formed, called the Bangladesh Ceramic Manufacturers & Exporters Association (BCMEA), under the leadership of many of these ceramic legends. Here, we highlight some legendary leaders and key entrepreneurs who have been instrumental in the journey of the ceramic industry in Bangladesh. These pioneers have laid the foundation for the thriving ceramic industry in Bangladesh, which now covers various subsectors such as tableware, tiles, sanitary ware, and ceramic bricks. Their legacies continue to inspire future generations of ceramic entrepreneurs and professionals. Mohammad Abdul Jabbar Known as the pioneer of the ceramic industry in Bangladesh, Mohammad Abdul Jabbar founded Tajma Ceramic Industries. His contributions laid the foundation for modern ceramic manufacturing in the country. The story of Tajma Ceramic Industries Ltd is quite fascinating. In 1958, the ceramic industry took its nascent steps with only one small tableware manufacturing plant in Bogura. Mohammad Abdul Jabbar, instrumental in promoting and advancing the ceramic factory in Bangladesh, was the Managing Director of the company until his death on May 7, 1985. Tajma Ceramic Industries, recognized as the oldest modern ceramic manufacturing plant in Bangladesh, marked the formal beginning of the ceramic industry in the country. It was the first ceramic earthenware plant to produce porcelain tableware using traditional methods. Tajma played a crucial role in pioneering porcelain tableware production using advanced technology for its time, inspiring many other manufacturers to follow suit. Ariff Wali Mohammed Tabani In 1958, Mirpur Ceramic Works Ltd in Dhaka began producing heavy clay products using German plant and technology, gaining a reputation for manufacturing the best quality ceramic bricks in the subcontinent. The late Ariff Wali Mohammed Tabani, known for his contributions to Mirpur Ceramic Works, played a key role in its evolution. Tabani was the founding Chairman and Managing Director until his death on December 7, 1990. Currently, the company manufactures various types of unglazed tiles and has established two more ceramic companies, Khadim Ceramics and Sunshine Bricks. Both Mirpur Ceramic Works Ltd. and Khadim Ceramics Ltd. have been synonymous with ceramic-based construction materials, manufacturing a comprehensive range of products including blocks, bricks, ornamental screens, claddings, pavers, roofing tiles, and floor and wall tiles, along with the necessary mortars. These materials have been pivotal in landmark projects nationwide, showcasing the group’s commitment to quality and innovation. Md. Abdul Hai Mohammad Abdul Hai was a visionary entrepreneur who founded the country’s first ceramic sanitaryware company, Dacca Ceramics and Sanitary Wares Ltd., in 1969. He embarked on a revolutionary journey in the ceramic sector with the aim of advancing the country through innovative ceramic products. Despite facing political unrest and significant challenges during the Bangladesh Liberation War in 1971, which led to the destruction of the factory and the loss of materials, Abdul Hai was determined to rebuild the company. After the war, he successfully revived the company in 1974. Dacca Ceramics became the country’s first non-heavy clay building ceramic plant and started the production of sanitaryware in Tongi, Gazipur. Under his leadership, the company grew to become a leader in the country’s ceramics industry, known for its high-quality, durable, and cost-effective products. Abdul Hai’s dedication and resilience played a crucial role in shaping the success of Dacca Ceramics, leaving a lasting legacy in the industry. Mr. Hai passed away on December 21, 1995. Ansar Uddin Ahmed A key figure in Peoples Ceramic Industries, Ansar Uddin Ahmed significantly contributed to the industry through innovation and quality control, helping the company gain a strong foothold in domestic market. In 1966, Peoples Ceramic Industries Ltd, formerly known as Pakistan Ceramic Industries and located in Tongi, Gazipur, began production using modern porcelain tableware manufacturing technology from Japan and started exporting their products. The late Ansar Uddin Ahmed, a respected entrepreneur, inspired many in the field. He was the Managing Director of Peoples Ceramic Industries and Standard Ceramic Industries Ltd and passed away on August 17, 2005. He served as the first President of BCMEA from 1992 to 2002, revolutionizing the export of local ceramic products Rashed Mowdud Khan As the Managing Director of Bengal Fine Ceramics Ltd, Rashed Mowdud Khan advocated for sustainable practices and modern technologies in ceramic production, enhancing the global reputation of Bangladeshi ceramics. In 1986, Bengal Fine Ceramics Ltd, the first stoneware tableware manufacturer in Bangladesh, entered both domestic and international markets. The late Rashed Mowdud Khan was a prominent figure in ceramics, known for his artistic and technical expertise. He served as the first General Secretary of BCMEA from 1992 to 2002 and President four times from 2003 to 2009. He passed away on January 9, 2011. Iftakher Uddin Farhad Mr. Iftakher Uddin Farhad was the Chairman & Managing Director of FARR Ceramics Ltd and served as the President of BCMEA in the 2011-13 session. Established in 2005, FARR Ceramics is a manufacturer and exporter of Euro Fine Porcelain tableware. The company began as an export-oriented business in 2007, producing hard porcelain tableware for both international and local markets. Located in Gazipur, Bangladesh, the plant is equipped with state-of-the-art European ceramics manufacturing technology from Germany and Italy, and decal printing technology from Japan. FARR Ceramics currently exports to 31 countries, from North America to Europe, the Middle East, and India, with a monthly production capacity of 2 million pieces. Mr. Farhad passed away on December 25, 2012. Golam Sabur Tulu The founder of Madhumati Tiles Ltd, Golam Sabur Tulu introduced advanced technologies and designs in ceramic manufacturing, significantly impacting the market in Bangladesh. He was a visionary entrepreneur who made significant contributions to the ceramic industry.
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A Story of Dreams & Determination: South Breeze Housing Ltd.
In the growing heart of Dhaka in the mid-1990s, three brothers stood at the crossroads of ambition and legacy. Aminur Rahman Khan, Anisur Rahman Khan, and M. Ashiqur Rahman Khan were driven by the vision to create something extraordinary—something that would not only honor the legacy of their father, the late M. Abdur Rouf Khan, a pioneering businessman in Bangladesh’s shipping industry, but also transform the way people experienced home. With this dream, South Breeze Housing Ltd. was born in 1995. In their early days, the brothers set their sights on Dhaka’s most coveted neighborhoods—Gulshan, Dhanmondi, and Baridhara. They understood that homes weren’t just structures of concrete and steel but sanctuaries where lives unfolded. They poured their energy into designing residences that offered not just comfort but also an elevated lifestyle. Their first projects quickly gained attention. Each building was a statement of architectural innovation and uncompromising quality. As word spread, South Breeze became synonymous with exclusivity and refinement, setting a new standard for real estate in Bangladesh. “South Breeze is a trailblazer in the real estate industry; they were the first to believe in my vision,” shared Rafiq Azam, the renowned architect of Bangladesh. His firm, Shatotto Architecture for Green Living, has been collaborating with South Breeze Housing Ltd since 1998, being one of the pioneers to facelift the look of the residential real estate. A true artist, Azam seamlessly integrates his creative vision into the buildings he designs, setting his work apart. South Breeze’s ethos was clear: every detail mattered. From meticulously designed single-unit apartments to duplexes with breathtaking views, each project spoke to the company’s relentless pursuit of perfection. Collaborating with the country’s finest architects and engineers, they created masterpieces like ‘South Ripple’ in Gulshan, where residents could wake up to serene lakeside views, and ‘South Terrace’ in Baridhara, a collection of sprawling single-unit homes that felt like a retreat in the middle of the city. This achievement was made possible by Rafiq Azam’s boldness in challenging conventional norms. Reflecting on his inspiration, he shared, “I spent time in Puran Dhaka and noticed how open their houses are—the rooftops are close, the walls are low, and people feel more connected. This inspired me to think, why not use glass walls at the front of my apartments as a breath of fresh air, instead of the usual long concrete walls with barbed wires?” ARCHiTECTURE BEGAN TO CHANGE. PEOPLE STARTED NOTiCiNG THE DiFFERENCE. I BELiEVE WE ARE A COMMUNiTY, AND WALLS ONLY SERVE TO SEPARATE US FROM SOCiETY. THE GROUND FLOOR OF ANY BUiLDiNG iS CRUCiAL—iT SHOULD BE A SHARED SPACE FOR iNTERACTiON, CREATiNG ROOM FOR GREENERY, A PLAYGROUND FOR CHiLDREN, AND A CLEANER, MORE WELCOMiNG WALKWAY Their projects weren’t just buildings—they were homes that told stories, each uniquely tailored to the dreams of their residents. With walls made of glass, lush green porches, and thoughtfully designed playgrounds for children, these spaces fostered a sense of community while blending functionality and artistic vision seamlessly. “My main priority is that the buildings must be green—they need to have grass and plants so that the residents still feel connected to nature. There should also be a waterbody surrounding the building or a pond at its center,” shared Azam. His innovative approach paid off when the company’s out-of-the-ordinary architectural designs caught the world’s attention in 2017. Rafiq Azam won the ‘Cityscape Awards,’ a global accolade for outstanding architecture. This wasn’t just a win for South Breeze but a moment of pride for Bangladesh. Today, South Breeze continues to redefine luxury living. Their portfolio includes stunning developments like ‘South Supreme’ with its rooftop lap pool and panoramic views and ‘South Spring,’ a tranquil haven beside Dhanmondi Lake. Each project reflects the company’s deep understanding of its clients’ needs: privacy, sophistication, and a connection to nature. However, when architect Azam first embarked on his journey, his unconventional approach was met with skepticism. Many doubted the practicality of incorporating nature into buildings, fearing that it would lead to damp walls and significantly higher costs. His innovative requirements, such as large windows for enhanced ventilation, natural light, and expansive views, as well as the use of glass walls and exposed concrete instead of painted surfaces, were considered radical at the time. Despite these concerns, Azam remained steadfast in his vision. “Architecture began to change from that point,” Azam reflected. “People started noticing the difference. I believe we are a community, and walls only serve to separate us from society. For me, the ground floor of any building is crucial—it should be a shared space for interaction, not just a parking lot. That’s why I chose to position the cars at the back, creating room for greenery, a playground for children, and a cleaner, more welcoming walkway.” There was a time when there was no space to add plants in front of the building, so in 2002, I decided to take the garden to the roof—a concept that was considered impossible back then. But I made it happen. I transformed the roof into a thriving garden, which was greatly appreciated by the residents. The innovative decisions taken by South Breeze not only provided them with a significant business advantage but also solidified their reputation as leaders in the industry, thanks to their ability to break barriers and embrace bold ideas,” he added. Rafiq Azam did his job as an architect, but South Breeze took care of his art, making sure they did not lose their value over the years. “I owe it to South Breeze for where I am today and making my architectural dreams come to life,” he concluded. As they continue to expand their portfolio and take on new challenges, one thing is certain: South Breeze isn’t just building homes—they’re shaping the future of living. For those looking for a home that tells a story as unique as theirs, South Breeze offers not just a residence but a legacy. This made South Breeze offer more than a luxury but a lifestyle. Families who move
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Chattogram Hill Tracts Complex: Preserving the values of the people of hills
The complex was designed with one mission in mind: to give visitors the impression that they are experiencing a piece of the Chattogram Hill Tracts right in the heart of bustling Dhaka. The complex serves as a pivot between the people, and architecturally, it has achieved in taking us close to experience Chattogram Hill Tracts without having to travel 300 kilometers. This cultural complex consists of an office building, library, multipurpose hall, amphitheater, restaurant, public plaza, sculptures, and water body in the 2 courtyards, souvenir shops, etc. The public places of this complex are designed in a way to facilitate communal meets, fairs, and cultural events in the public and semi-public zones. Layout, zoning, planning, and construction of the entire complex were modeled after, or at least resembled, structures hailing from the hill tracts, using their common building materials like bamboo, straw, cane, and thatched roofs, which were initially used. A distance of 300 kilometers keeps Dhaka people from experiencing the rich cultures of the Chattogram Hill Tracts (CHT). To bridge that, the Chattogram Hill Tracts Complex has been constructed on Bailey Road, in the heart of the capital city of Bangladesh. This government project has also brought the deeply cultural people of the CHT closer to the Dhakaites. The primary concept behind this 2-acre complex was to serve as a common gathering space where children of hills and city people can come together, as well as exchange intercultural values. To strengthen the complex, modern materials like reinforced concrete and rods were used around it but not to take away its vernacular architectural roots from it. For example, thatched roofs of huts are trussed up with external support struts or buttresses made of very basic material but with superior compressive strength—bamboo. However, the aluminum beams propping up the surrounding top floor serve that symbolic role. The complex was designed with one mission in mind: to give visitors the impression that they are experiencing a piece of the Chattogram Hill Tracts right in the heart of bustling Dhaka. A sloped garden and a fountain mimicking the trickling down of water from a hill face welcome visitors. The sound of water trickling can trick the mind that one is standing next to a natural fountain if they are leaning into the experience. The grand amphitheater is yet another attraction of the Chattogram Hill Tracts Complex. Besides functioning as a venue for plays and shows, this open-air amphitheater can be a wonderful place to sit and enjoy the quiet and spatial experience of this state-of-the-art complex. North of the amphitheater is a crescent-shaped artificial water body. Many beautiful sculptures are displayed between the water body and the amphitheater. These two attractions are joined by a spiraling staircase. The sloped garden on the side of the elevated amphitheater gives a visitor the impression of standing atop a hill. However, visitors will be greeted by beautiful waterscapes at the entrance, even before they reach the best part. The neat waterbody is depressed into the ground, and its step design can remind one of the Rajsthani Chand Baori, although a lot less elaborately. This should give an idea of the extensive care that was spent constructing this complex, which is meant to bolster relations between two peoples. And whether one would like to collect a souvenir, they can do so at the entrance where the souvenir shops are, next to the water body, or they may get their souvenirs at the end of their stay, since the shop would be in the way either way. The number of elements in the complex is high. Yes, there are public spaces that hold all the pretty water bodies and sculptures, semi-public spaces comprising administration buildings, and private spaces that form up a minister’s bungalow, chairman’s bungalow, and dormitories and suites for officials. Yet, the entire complex boasts ample open space through which sufficient air and light flow through without much hindrance. Nooks and crannies of this large project are given room to grow green grass and plants wherever possible. Grass aside, walkways are divided up by lines of pebbles between brick and tile floors, occasionally having concrete stepping slabs. To design freely with nothing held back is one way to go. The designer might as well create something completely fresh and be applauded for it. However, fusion, on the one hand, means staying truthful to each element in the blueprint, and, on the other hand, it also means having to come up with something different by mixing two or more elements. Architects with extensive experience and a clear vision are then responsible for achieving this. Restrictions of conforming to design elements from the hill tracts while embracing modernity were there, but the finished outcome, it seems, has achieved the desired fusion. A fine balance between modern versus nature is evident in this complex. And yet, the interior design of the Chattogram Hill Tracts Complex is a very different picture. Every inch of its interior oozes modernity in every way possible. Hanging staircases supported by high-tensile steel cables, lofty ceilings with wooden panels for ultra-modern design, soft, warm ceiling lights, squeaky clean floor tiles throughout the interior, etc., all add up to the modern style of interior decoration. Since its inception in 2022, the Chattogram Hill Tracts Complex has already hosted two full-fledged Mela (fairs). Culturally, the complex serves as a pivot between the two peoples, and architecturally, it has achieved in taking us close to a CHT experience without having to travel 300 kilometers.
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Noubliez Pas Novera
THE WAYS NOVERA PLAYED WITH FORMS AND SHAPES ON HER BEST SCULPTURES HAVE AN INEXPLICABLE AURA THAT CAPTIVATES AND TAKES YOUR SOUL TO A SPACE THAT IS SOMEWHERE BETWEEN THE VAST ABSTRACT AND YET TANGIBLE. In August of 1960, on the ground floor of the Central Public Library building of the University of Dhaka, showcasing 75 of her artworks sculpted between 1956 and 1960, Novera Ahmed had her first solo exhibition titled “Inner Gaze.” This formidable exhibition arguably sparked the genesis of modern sculpting practice in both West and East Pakistan (now present-day Bangladesh). She was the first-ever sculptor from the undivided Pakistani region. Novera Ahmed was born on March 29, 1939, in Kolkata, British India, and on the occasion of her 85th birthday, this attempt is to reminisce about one of the finest artistic personages from this part of the world. Today, Novera’s importance is cemented in the history of art in this region, and it seems that she has a newly found celebrity status, especially amongst the younger generation of art enthusiasts, but for decades and even today, to a significant extent, Novera’s public repute mostly synonymizes as enigmatic. But Novera should not be important because of her public portrayal that branched from her peers: that she was a good-looking female artist of prodigal calibre who worked and lived independently as a divorcee in a patriarchal society; the way she did her buns and draped herself in black sari and curated her look as Baishnabi wearing Rudraksha garland and tilak on her forehead; that she used to exploit her male peers; that she had a sentiment because of the way she was gazed upon and which is why she eventually left Bangladesh; the list of such narratives that circulated her is pretty long. Novera is important because of her artworks; the quality of her artworks effortlessly transcends the tags she was associated with, which boxed her only as an eccentric rebellious character, undervaluing her art. The ways Novera played with forms and shapes on her best sculptures have an inexplicable aura that captivates and takes your soul to a space that is somewhere between the vast abstract and yet tangible. Novera used to travel around and gradually minimised her activity in the local art scene. Her complete disappearance from the scene in 1970 after she permanently moved to France eventually turned her into a myth. Later, she married the love of her life Gregoire de Brouhns in 1984. Although there is no concrete evidence regarding why she left, it is speculated that the key reasons are monetary and no recognition even from her peers. Belonging to a middle-class background, she almost single-handedly established a medium that was still very new in the region so there were not many commissions for her so she could continue her practice and earn a decent living. There was also an uncanny silence from her peers, which only fueled the collective negligence towards her. Even in the artist community, she was only remembered as an amateur female sculptor. In fact, for a while, it was even established that she was dead, and it was only in late 1998 after a brochure of her 1960 exhibition was found, that it catalysed the rebirth of discussions about artist Novera Ahmed. Although Novera studied in Europe and like many other artists, had that influence on her works in her earliest years, very soon she found her style. If we examine Novera’s available discography of sculptures and paintings, it resembles the wide array of subject matters she had her interests. Notably, in artworks from her formative years, it is very evident how much she was fascistically influenced by her roots. The way she took Bengali folk elements and ethereally blended them within her modernist approach of practice shows how revolutionary she was. Novera’s idea of using cement instead of large blocks of stone or wood, as they are scarce in this region, and sculpting such smooth cement sculptures, which is very difficult to accomplish, shows both her innovativeness and technical prowess. When she started traveling to Southeast Asia, she decided to collect scrap metal from the debris of the U.S. Air Force plane used in the Vietnam War and use it as materials for her newer sculptures at the time. For a long period, little to no care was taken to preserve most of Noveraís works that are in Bangladesh. In fact, for a while, it was even established that she was dead, and it was only in late 1998 after a brochure of her 1960 exhibition was found, that catalysed the rebirth of discussions about artist Novera Ahmed. She was also highly influenced by Indigenous and Buddhist themes; in fact, she once said that the form of the concrete structures of the Shaheed Minar (which she co-designed with another notable artist, Hamidur Rahman—a topic that still has loads of debate regarding who came up with the original idea) is inspired by the idea of an ascending hand of Buddha. The long list of her oeuvres includes works like Cow With Two Figures (1958), Serpent Nommé Désire (1972), Le Djinn (1973), Le Heron (1982), Le Baron Fou (2001), etc. In her France years, even after Novera was wheelchair-bound after a life-altering car accident, she continued working with her forever devotion and love towards art, till she was bedridden due to health complications when she was older and eventually passed away on May 6, 2015. For a long period, little to no care was taken to preserve most of Novera’s works that are in Bangladesh. The whereabouts of many of her works are yet unknown, and the ones that survived did so due to her patrons and private collectors. A collection of her works and memorabilia is at the Musee Novera Ahmed at La Roche-Guyon in northern France which was set up by her dear husband. Currently, only 33 of Novera’s sculptures are in the collection of the Bangladesh National Museum, and the gorgeous frieze that she
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