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A stunning display of architectural grandeur, welcoming students
We are all familiar with the Dhaka University and its grandeur. Even now, when major infrastructures shroud the beautiful campus, its thousands of students still enjoy a little retreat among greeneries in, for example, Muktamancha or Suhrawardi Udyan. The same can also be said for all public universities. It’s on one such campus where BUET alum Khandaker Ashifuzzaman Rajon, Principal Architect of Cubeinside Design Limited, studied architecture. Of course, Rajon’s idea of a campus vastly differs from that of private university students. Thus, when tasked with designing a campus for Southeast University (SEU) well within the hustle-bustle of Dhaka, Rajon had to tumble down all his cards and think of fresh ways to give the students of Southeast University some taste of his own campus-going experience. The project being the permanent campus came with the additional worry of how to design the structure that would inspire students to enrol just looking at the place years, even decades, after its novelty factor has worn off. But before we go further into Rajon’s and the Southeast University permanent campus story, allow us to tell you what it is about all private universities competing to move to their permanent campuses. Competition here is particularly good, as all private universities want a permanent campus that is the most student-friendly while being attractive. UGC, the University Grants Commission, recently stipulated that all private universities, without fail and exception, move to a permanent campus that facilitates students with open space, interactive classrooms, and all the amenities that university students abroad enjoy from a campus. So, that triggered the mass relocation of private universities to actual campuses in place of stuffy buildings. Rajon opened his story with the mandatory 50% open space policy in the rulebook for building a new permanent campus. “The idea of a cubic volume in the centre of the campus came from this rule. I wanted the rest of the structure to look over the open space as the centerpiece of the campus. As a by-product, a central courtyard would help dissipate light and aerate its surroundings, like the classrooms, for example. However, the Board wasn’t initially unanimous about the central open space idea, but it was up on completion that they saw my vision behind this design choice, and this later became everyone’s favorite part of the entire campus,” began the architect. But beyond the Board’s stamp of approval, the campus just had to be completed and made fully functional within a very limited window of time, set by the UGC. If you happen to be a current student of SEU or have even visited the place, you may have taken a moment’s pause and thought of how it was even possible to erect an edifice as such in such a constricted amount of time. This is where the seasoned, but young, architect’s ingenuity just begins. If my memory serves well, I remember seeing in the popular cartoon show “Popeye: The Sailor Man” Popeye stacking floors upon floors of a skyscraper with steel I-beams, all in one shift, of course with the help of his special formula spinach, but steel I-beams were the actual hero that allowed for construction at such mind-boggling speeds. I am not inferring that Rajon got his hands on Popeye’s spinach, but being the well-bred architect that he is, he knew that I-beams would be an ideal instrument in his race against time. He explained how: “All the brick and concrete facades of the entire complex give it the impression of an RCC (reinforced cement concrete) structure, but its basic skeleton is made of I-beams. This bought me time! I-beams, like Lego, just have to be joined together using nuts and bolts without trading modern looks for time or structural integrity, but we did trade off some extra money to be able to complete construction in time.” The mission he had in mind to let light dance around the entire complex with the help of a central open space was a massive success. As the structure was shaping up rather quickly, it was instantly visible that the same campus took on different faces because of the changing sunlight that entered at different angles at different hours of the day. As a creator, the play of light and shadow had Rajon all emotional when he laid eyes upon the outcome. “The place would change its look at the change of each season too,” he said. “A few of my acquaintances who study at SEU find the campus quite photogenic. As climates change, they post photos and reels of different parts of the campus on their social media, and from there, I get to observe, from an onlooker’s perspective, how the most important beneficiaries of the campus—who are the students—are lovingly accepting it and are also low-key boasting it on their socials.” All this is to say that a structure made exclusively out of complex mathematics and engineering can also evoke emotions when made with the human angle in the mix. Ever since the permanent campus opened its doors to students in early 2023, the entire place teems with students in any direction imaginable. Not only is that the proper utilisation of space, but it also points towards the inevitable fact that students love their new campus. Everyone is doing what a student does: going in and out of class, singing, laughing, teasing, playing with classmates between classes, and most importantly, enjoying their newfound freedom in such a capacious facility that can house over 12,000 students at once! The former campus building is in the backyard of the new campus. It will be demolished soon and replaced by a new building to house the School of Engineering. It is to be designed by Cubeinside Design Limited as well. “But looking at the design of the new building and the one we just completed, no one will be able to say that the same architecture firm was behind the drawing board of the second one; it’s that different from the
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Paragon Ceramic, Pioneering Innovation and Sustainability in a Challenging Global Market
The global ceramic industry, including Bangladesh, is navigating a period of uncertainty due to economic slowdowns, fuel shortages, and inflation. However, Paragon Ceramic Industries Limited (PCIL) has managed to stand out as a leader in this competitive sector, driven by an unwavering commitment to quality and resilience. Below is a closer look at the company’s journey, challenges, and future plans as discussed by its Managing Director, Farian Yusuf. A Journey of Resilience and Early Success Founded in June 2008, Paragon Ceramic began commercial production in December 2010. Remarkably, within just two months, the company achieved its first export, a significant milestone that set the stage for its future success. Despite the current oversupply in the domestic market, Paragon continues to thrive internationally, with exports showing considerable growth. “Our entry into exports soon after production was a major accomplishment,” said Yusuf. “Although the local market is challenging, we are seeing tremendous growth internationally.” Paragon Ceramic: A Leader in High-Definition Porcelain Tableware Manufacturing Located in Mirzapur, Gazipur, approximately 50 kilometers from Dhaka, Paragon Ceramic benefits from a strategic location with access to all necessary infrastructural facilities. With a total investment of over US$ 16 million, PCIL has established itself as a key player in the porcelain tableware industry in Bangladesh. Cutting-Edge Technology and Skilled Workforce PCIL specializes in manufacturing and exporting high-definition porcelain tableware, utilizing state-of-the-art machinery sourced from renowned global suppliers like SKK and TAKASAGO from Japan, TCK from Taiwan, Modena and COTO from China. The factory is supported by a workforce of approximately 1,600 highly skilled and motivated employees, ensuring the highest quality in every product. “In a market where competition from China is fierce due to low pricing, Paragon Ceramic has adopted a strategy of prioritizing product quality over competing on price. China, with its advanced technology and domestic resource pool, offers products at far lower costs than Bangladesh.” Durability and Performance Paragon Ceramic decorated tableware combines vibrant colors and unique shapes that endure even the most demanding dining kitchens. Our proprietary clay recipe, infused with alumina, ensures strength, durability and a pure white finish. Yusuf said “Tested for quality, our products resist fading, chipping, and scratching, even after 500 dishwasher cycles. With advanced shape engineering and glazing techniques, we guarantee functionality, hygiene, and impact resistance”. Innovation and Global Reach Through cutting-edge technology and constant design innovation, Paragon Ceramic stays ahead of trends, offering high-performance tableware. With a robust global distribution network, we ensure timely deliveries worldwide. State-of-the-Art Manufacturing and Quality Assurance PCIL operates with cutting-edge technology, from its porcelain plant to its decal and packaging units. With modern equipment from Japan, Taiwan and China, and a highly skilled workforce, PCIL produces high-definition porcelain tableware for global markets like IKEA and H&M. The company excels in custom designs, meeting clients’ diverse requirements with unmatched flexibility and service. Precision and Excellence in Every Step PCIL’s advanced Mould unit and dedicated Quality Assurance (QA) team ensure every product meets strict international standards. With over 25,000 Mould produced monthly, the team delivers high-quality ceramics while adhering to ISO 9001:2015 standards for superior customer satisfaction. Overcoming the Industry’s Biggest Challenges Paragon has faced its fair share of challenges, from fuel shortages to a shortage of skilled workers. The company’s resilience in overcoming these hurdles speaks volumes. According to Yusuf, the biggest obstacle remains the gas crisis, which has severely impacted production costs and supply. “Fuel costs have skyrocketed by over 250 per cent, yet gas pressure remains very poor, affecting overall production,” he explained. “We’ve had to turn to alternative energy sources but that increases our costs, making us less competitive and facing global challenges to survive” Despite these difficulties, Paragon has continued to expand and evolve, focusing on maintaining its stronghold in international markets while also striving to meet local demand for Porcelain tableware. Quality over Price: A Global Strategy In a market where competition from China is fierce due to low pricing, Paragon Ceramic has adopted a strategy of prioritizing product quality over competing on price. China, with its advanced technology and domestic resource pool, offers products at far lower costs than Bangladesh. However, Paragon’s superior quality remains a competitive edge. “While China has access to its own resources, we rely heavily on imports, which raises our costs,” said Yusuf. “But in terms of quality, we’re second to none and that’s what has helped us to secure buyers internationally.” Reducing Import Duties: A Key to Growth Yusuf believes that reducing import duties on raw materials could significantly boost Bangladesh’s Ceramic industry and its global competitiveness. Since the sector relies entirely on imported raw materials, lowering these costs could fast-track growth and innovation. “If the government offers duty benefits, the sector will see accelerated development. We have the potential, but policy support is crucial to our future,” said Yusuf. Attracting Foreign Direct Investment (FDI) for Expansion Paragon Ceramic is also focused on attracting foreign direct investment (FDI), which Yusuf sees as essential for broadening the scope of the industry. More FDI could increase the number of companies in the sector, giving buyers more options and boosting confidence in Bangladeshi ceramics. “In the same way that Bangladesh’s garment industry grew with increased foreign investment, the ceramic sector can also be benefited,” Yusuf explained. “The more companies we have, the more options buyers have, leading to better overall industry growth.” The Gas Crisis: A Major Production Bottleneck The ongoing gas crisis has led to a surge in fuel prices and decreased availability, creating a substantial challenge for Paragon and other industries. Low gas pressure in industrial areas like Gazipur has severely impacted production as well as quality that reflects on financial statement. “The entire industrial area is affected by this, and it’s not just us—garment and other industries are also facing disruptions,” Yusuf said. “We need long-term solutions for energy security if we are to continue growing.” Technological Advancements: A Path Forward Yusuf emphasizes the need for technological innovation to enhance production efficiency and maintain competitiveness. While inflation has dampened local demand for
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The Unfinished Mughal Fortress
Lalbagh Kella is perhaps the most quintessential remnant of the Mughal era in Bangladesh. Also known as Lalbagh Fort or Fort Aurangabad, it is a majestic historical site located in the heart of the old town of Dhaka. Built during the 17th century, Lalbagh Fort is a testament to the grandeur of this region’s rich history. Commissioned by Prince Muhammad Azam, the third son of Emperor Aurangzeb, it is also one of the most renowned Mughal structures in the subcontinent. Although Prince Azam initiated its construction, it was left incomplete due primarily to untimely death of his beloved wife, Pari Bibi. Iran Dukht Rahmat Banu, more known as Pari Bibi, was the daughter of Shaista Khan and grandniece of Nur Jahan, the consort of the Mughal Emperor Jahangir. Prince Muhammad Azam’s dream of creating a magnificent fort was left incomplete due to his wife’s untimely death and his own departure to join his father’s military campaign. This poignant episode in the prince’s life is an integral part of the fort’s history. The incomplete status, frozen in time, grips the guests within an aura of wonder about what it might have looked like had it been finished. In 1678, Mughal Prince Muhammad Azam Shah embarked on the construction of Lalbagh Fort along the bank of Buriganga in the southwestern part of Dhaka city. At the time, he held the position of Subedar (Provincial Ruler) of Bengal. However, his tenure in Bengal was only 15 months. His father Emperor Aurangzeb called him to Delhi to suppress the Maratha rebellion. Despite this setback, significant progress had been made, including construction of a mosque and the Darbar Hall. In 1680, Shaista Khan assumed again the role of Subedar of Bengal and took up the mantle of completing the fort. Under his guidance, the construction resumed. However, tragedy struck when Shaista Khan’s daughter, Pari Bibi, passed away prematurely within the fort in 1684. Grief-stricken, Shaista Khan deemed the fort is inauspicious and halted further construction, leaving it forever incomplete and abandoned. Shaista Khan ruled Bengal in Mughal period for a total of 22 years, from 1664 to 1678 and from 1680 to 1688. He was the maternal uncle of Emperor Aurangzeb. During his reign Dhaka prospered greatly and the best period of Mughal rule passed. He built Chota Katara Mosque and Seven Dome Mosque near Lalbag fort. Chittagong victory is one of his notable achievements. He also defeated the British in the Anglo-Mughal war. The architecture of the fort reflects the distinctive style, characterised by its typical grandeur, symmetry, and meticulous attention to ornamented details. Built primarily with brick, it showcases the finesse of Mughal-era craftsmanship. The fort’s main gateway is a three-story structure that embodies the classic Mughal arch. The gateway features ornate floral motifs and Quranic inscriptions, a sublime fusion of Islamic art and architecture. With its symmetrical design and elegant arches, the southern gate of the fort is another splendid example of Mughal architecture. The fort is adorned with massive corner towers, each with a distinctive style. These towers served both decorative and defensive purposes, and they provided an excellent vantage point to appreciate the entire site and its surrounding landscape. Tomb of Pari Bibi: A Testament to Love and Tragedy The tomb of Pari Bibi stands as one of the three primary structures within Lalbagh Fort — a silent witness to love, loss, and architectural beauty. In 1684, tragedy struck when Pari Bibi, the beloved wife of Prince Muhammad Azam and daughter of Subedar Shaista Khan, passed away prematurely. Her final resting place became the under-constructed Lalbagh Fort, where a tomb was erected to honour her memory. As visitors enter through the main gate of Lalbagh Fort, Pari Bibi’s tomb immediately captures their attention. In fact, the iconic image associated with “Lalbagh Fort” is none other than the exquisite tomb of Pari Bibi herself. The tomb boasts a quadrangular design, crafted from pristine white marble adorned with delicately carved screens and intricate floral motifs. Inside, nine rooms reveal a symphony of materials: marble stones, rough stones, and glazed tiles adorned with colourful flowers and leaves. The central chamber houses Pari Bibi’s burial site, surrounded by eight additional rooms. Among them, the southeast room cradles another small tomb — the resting place of Pari Bibi’s daughter, Samsad Begum. The tomb’s roof, fashioned in the corbel style, features four octagonal minarets at the corners and a central octagonal dome. Once gilded, the dome now wears a covering of brass and copper sheets. The interior, too, gleams with white marble stones. This 20.2-square-meter tomb was constructed before 1688 AD, but fate had other plans. After Subedar Shaista Khan’s departure from Dhaka, the fort lost its significance, eventually falling into abandonment. The shift of Bengal’s capital to Murshidabad (West Bengal) further contributed to Lalbagh Fort’s decline. In 1844, following the end of the Mughal Empire, the area was renamed from “Aurangabad” to “Lalbagh” (Red Garden) Lalbagh Fort: A Fusion of History and Architecture The Lalbagh Fort, a captivating blend of heritage and design, encompasses three distinct structures: a mosque, the tomb of Pari Bibi, and the Dewan-e-Aam. Alongside these focal points, two grand arcades and a partially ruined fortified wall contribute to the fort’s allure. Recent archaeological excavations, led by the Bangladesh Directorate of Archaeology, have unveiled additional hidden treasures within the fort’s grounds. Among these discoveries was a sizable dome situated at the southwestern corner of the southern fort wall. To the north of this wall stood various edifices — buildings, stables, and administrative structures. On the western side, a picturesque terraced garden adorned with reservoirs and fountains graced the landscape. Residential quarters occupied the space between the western and eastern sections of the fort, primarily clustered southwest of the mosque. The southern fort wall boasted five towers, each rising two stories high at regular intervals. Meanwhile, the western fort wall featured two towers, with the largest guarding the southern main entrance. Beneath one of these towers lay an underground tunnel that traversed
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Art Collection & Beyond
Folk art, music, and other forms of art practices have a fairly long history and tradition in Bangladesh. However, there is still a lot of inconsistency about how we properly institutionalise, engage, and treat our own important art and artists, even though a lot of young people go to major exhibitions, mass concerts, and festivals every once in a while. Although there has been a noticeable improvement in the scene that developed in the past few years, especially in the post-pandemic era, the majority of the prominence that we see in social media is still inside a Dhaka-based bubble. Historically, there always had been a lack of responsible actions from the state or government regarding the endorsement of the overall art scene and practice. Not enough quality art education for everyone in schools and even not enough quality art education at universities, the fact that most people are interested in and involved in mainstream art, and facts like some people don’t take part in art responsibly and certain forms of art can be hard to get to are all things that contribute to the problem. In this reality, passionate art collectors and patrons are very rare breeds in Bangladesh. For a long time, Durjoy Rahman had quietly been a prominent figure in the Bangladeshi art scene. He has been personally collecting art for roughly three decades now; it was only in 2018 that he decided to go for a more institutionalised format for further contribution to the local art scene and founded the Durjoy Bangladesh Foundation. Despite the pandemic years and Durjoy’s preference of operating the foundation with very selective personnel, the foundation is promisingly making a name for itself within the niche of the local scene, the Global South, and the wider international art arena. “Many people misinterpret that the foundation is named after me, but the word Durjoy roughly translates as indomitable or invincible in Bengali. I had that in mind while naming the foundtion. Invincible/indomitable Bangladesh is the spirit of DBF,” said Durjoy to Ceramic Bangladesh Magazine at his office for a short but engrossing conversation about art, business, and life over cups of tea and biscuits. Soft-spoken, a bit formal with conversations, and always a well-dressed gentleman with a fatherlike old-school discipline, Durjoy carries a distinct eccentric aura—perhaps like that of many artists. Durjoy’s persona transcends the boxes of notions that are typically associated with the term “rich businessman turned art collector.” Speaking of art collection, he is also known for his amazing collection of various vintage cars. With his businessman father, who was a prominent name in the Jamdani trading scene back in the day, and a mother who was a doctor in the army and a freedom fighter who contributed to the liberation war of 1971, his knack towards business and having a soft corner for Bangladesh is perhaps unsurprising. You grew up in Dhaka cantonment. Do you remember your earliest influence of art— that intrigued you deeply? Absolutely! When we were young, there was a popular weekly literary magazine called ‘Bichitra’. I used to admire its design and the published cartoons. It was the timeline when the famous “Tokai” series by our very own modernist Rafiqun Nabi started getting published in the weekly, and I became a big fan of it. Later in life, when I started collecting, Nabi’s work was my first ever purchase, and now I have over 70 works produced by him. This gives me intense joy; it is as if I am satisfying my inner child. How was the local art and exhibition scene back then, given the type of crowd, their engagement, and the collectors? Furthermore, if we compare the eras of Muzharul Islam, Novera, S M Sultan, Murtaja Baseer, and the other renowned figures practicing the contemporary art scene of Bangladesh, it seems that what they did, considering time context, we still haven’t reached that level of quality despite having a lot more privileges now. There was always a very few collectors and patrons. Given the popularity of cinemas back then, there was always a regular crowd at the theatre shows, but it wasn’t often that we got to see a large number of crowds at exhibitions. The people of the crowd were not as young as those of today. If we talk about the number of people engaging, overall it is a lot more now. These are the big differences if we compare. Speaking about the improvement, I think the quality of contemporary art in Bangladesh is still pretty strong and not something to be undermined. We tend to think that artworks produced during those times are superior compared to contemporary Bangladeshi art, but I don’t entirely agree with that. I think some artworks produced these days are also timeless and very important. In the early 90’s, you entered the design and textile industry and had been successful with your entrepreneurial venture, Winners Creations Ltd. The company has a valuation of over 40 million USD. As a veteran businessman, what are your thoughts regarding the ceramic industry of Bangladesh? If we look at the financial reports, I think they are doing fabulous. It’s a growing industry, and ceramic-based products will always have their demands globally because of how we use them in our day-to-day lives. In my opinion, I think there is always room for improvement in the design. We usually don’t incorporate our local motifs; we don’t utilise our local artisans and talented young designers properly. For example, using elements from rickshaw art. Notably, when I visited Spain and Japan, I saw how beautifully they brought their influence of art into their ceramic products.
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JBS Holding making Green Buildings
JBS Holdings Limited, a Japan-Bangladesh joint venture company, has been in the business of real estate industry, infrastructure development, commercial, and condominium ventures with the association and experience of professional experts and investors from Japan and Bangladesh. Since its inception in 2020, JBS has handed over more than 15 projects, till the end of 2023, to the satisfaction of customers. More than 300 engineers and employees are directly working in the company. The company’s maximum investment came from Japan. The company has 25 ongoing projects and additional 38 upcoming projects across the country. The company is a member of Real Estate and Housing Association of Bangladesh (REHAB) under approval of Rajdhani Unnayan Kartripakkha (RAJUK) or capital development authority. According to Abdul Haque, Managing Director of JBS Holding Ltd, the company within this short span of four years, has been able to occupy a prestigious space in the arena of real estate sector for its commitment and quality. In the past three years, it has completed 15 projects. Most of features of green building were included in those projects. As per requirement of green building it tried to include green building’s features in the buildings. He stated, “JBS Holdings is committed to offering the best investment opportunities to buyers through innovation, continuous improvement, quality and reliability. We believe in a strict Code of Ethics, integrity and commitment to excellence, professional attitude and personalized care.” The country’s real estate sector has been playing a significant role in gross domestic product (GDP). The sector contributes 8-10 per cent to GDP and with related business account 15-17 per cent to the GDP. Thousands of developers, engineers, architects, technicians, MEP experts and workers are engaged directly in this sector. The sector is also supporting the country’s construction-related industries such as rod, cement, ceramic tiles, sanitary ware, paints, woods, glass, cables, aluminium and bricks industry. A lot of products are consumed by the developers helping these industries to sustain, grow and expand. “We want to continue our support to boost the sector in future,” the Managing Director pointed out. Green Building The green building is also known as green construction or sustainable building. The buildings refer to saving resources to the maximum extent including energy saving, land, water, and material saving. Besides, it protects environment and reduces pollution, and provides people with healthy, comfortable and efficient use of space, in harmony with nature. “Those who live in green building get maximum benefits – in terms of health, internal quality environment, resource efficiency, and energy saving. We have the intention to include all features in future, and take international certifications,” Mr Abdul Haque added. He said the commitment is very important in the industry. “We ensure the commitment, complete the buildings before the deadline, ensure quality construction, and maintain compliance. Our clients are also very satisfied. Customer’s satisfaction is our main goal in business.” Location is also important for sustainability. “The site of the building should have good communications network, good atmosphere, and all civic amenities such as healthcare facilities, school, and market. These issues are considered when we take a project,” he explained. “When we design a building, we follow the government’s rules and regulations properly. We keep 50 per cent open of total space of the building site, according to DAP. So, the buildings get enough air, light, oxygen, rainfall, water supply and energy efficient. We look into maximum air and light as well as ventilation system taking a project,” Abdul Haque said. “We consider it while constructing a building. As wind is available there is no need to run AC and fan all times. Besides, solar panel on rooftop of the building helps energy efficiency too. We use the brand’s equipment like lifts, generator, and it helps save energy for operation. We provide a lot of plantations in rooftop, verandahs and terrace of a building. It helps us get adequate oxygen. It keeps cool environment.” Green Building saves 30-40 per cent Energy The demand for the green building is increasing gradually but it has not been popular yet in the country. We have to construct green building as it is a demand of the day. As energy crisis is now across the world, green building needs to ensure naturally benefits like winds, light and energy efficiency, Mr Haque also said. Challenges and recommendations There are a lot of challenges including scarcity of land, and its high cost, urban planning, high registration cost, floor area ratio (FAR), policy complexity, VAT and tax, as well as high living cost now, and land owner’s high demand. He said, “We need a proper real estate-friendly policy which would further boost the sector. So, the government should take a strategy engaging private sector here. The government can take many projects like Purbachal and give it to private developers to develop it. Then, there will be a quick and sustainable development in real estate sector.” Written by Rafik Hasan
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SOLARIC GROUP – DEVELOPS WORLD LARGEST SINGLE-SITE ROOFTOP SOLAR PROJECT
SOLARIC Group installed the world’s largest industrial rooftop solar system in the Korean EPZ of Chattogram in 2020. The company has already completed 103 MWp of rooftop solar projects in the country and has created employment for more than 100 engineers and other professionals. In association with Infrastructure Development Company Limited (IDCOL) through multiple NGO’s, SOLARIC Group supplied more than 5 lakhs solar home systems in villages across the country. The most iconic project that has been developed at KEPZ-50MWp in Chattogram by Youngone Corporation. And, Solaric is the EPC partner of the world’s largest single-site project. They basically started to work with Youngone Corporation in 2019. They already completed 40 MW which will be enhanced to 50 MW by June 2025. As Bangladesh faces energy crisis, Didar Islam, founder Solaric, tried to learn how to utilize the unutilised rooftops of the industries. Now, different industrialists of ready-made garments (RMG) and textiles, ceramic, plastic, and footwear are eager to use the solar panels on their rooftops. Solaric installed 21 rooftop projects of different companies and organisations from 2015 in industrial zones like Dhaka, Gazipur, Narsingdi, and Savar. Of these, the company installed solar panels on Bangladesh Bank’s rooftop in 2015, Markup Accessories Ltd and Debonair Group in 2018, Youngone Corporation and AKH Group in 2020, IRIS Fabrics, Tasniah Fabrics and Palmal Group in 2021, Khantex Fashion in 2022, BSEZ, Micro Fibre Group, FM Plastic Industries, Coats BD, Amanat Shah Group, Blue Ocean Footwear, and Masco Group in 2023, Ha Meem Group (Phase-2), Mondol Intimates, Checkpoint System, Nexus Sweater Industries and Logos Apparels in 2024. Average investment cost for every megawatt renewable energy is Tk. 10 million. With a vision to resolve the energy crisis in Bangladesh through renewable energy, Solar Intercontinental (Solaric) Limited was founded in early 2009 by Didar Islam, an electrical engineer and a scientist. Didar, also a former teacher at the Bangladesh University of Engineering and Technology (BUET), founded Solaric, a research and development (R&D)-driven technology company in Bangladesh focusing on developing appropriate technologies for both on-grid and off-grid solar applications, and has been awarded nine patents in the USA. The company developed its technology and system in 2010 and went into commercial operation in 2011. In an exclusive interview with Ceramic Bangladesh, the Director of Solaric Group, Engineer Naznin Akther said that Solaric PLE Ltd. is registered in Singapore in 2015 as a group of renewable energy development companies and a subsidiary in Bangladesh to implement large-scale industrial rooftop solar projects based on both CapEx and OpEx models. She, also the younger sister of Didar, said “we are the only solar company in Bangladesh with a private equity investor (OSIRIS), which helps the company grow exponentially by offering industrial rooftop solutions to factory owners with appropriate financial solutions.” “In 2000, Didar invented the world’s only CMOS single chip radio, known as QWIKRADIO, with 13 US patents. Then, he explored different ways it could be utilised in Bangladesh’s power sector. Later on, he started working on Analog IC design for portable power applications and launched a firm named after Power IC Ltd. with young engineers from BUET,” Naznin also said. She informed that her brother invented the Solar Optimizer, a single device to combine all solar electronics. Renewable energy solutions for industry She also informed that the company completed 15 projects on households. Earlier, people used 3% of their demand from rooftop solar following the government rule. But they did not think about the potential of an energy solution. Now they realise that an entire industry’s demand for power supply can be met by solar. In 2018, Solaric installed a 300 KW solar panel through the OpEx model (by own investment) on the rooftop of Debonair Group. Now, they sell electricity to the company. They are now working with 10 big companies, including Palmal Group, Micro Fibre, and Coats BD. “We now have 7.5 MWp in operation under the OpEx model. In addition, 30 MW is coming under the model”, she also informed. “We have developed more than 100 MWp of rooftop solar on-grid power plants with few of them under net metering all over Bangladesh. Under net metering, consumers with solar panels or other renewable energy systems can generate electricity and feed any excess energy back into the grid. Unlocking Rooftop Renewable Energy Potential Bangladesh, with its limited land availability, has experienced a surge in demand for rooftop renewable energy (RE). The market potential is substantial, boasting a total capacity of 6000 MW due to the country’s expansive rooftop space. Notably, the agriculture sector significantly contributes to this growing demand. Furthermore, the Mujib Climate Prosperity Plan mandates that industrialists ensure 40% of their energy comes from renewable sources. This commitment aligns with the global push toward sustainable practices and underscores the urgency of transitioning to cleaner energy alternatives. Surprisingly, only 5% of industrial rooftops have been utilized for solar installations, leaving more than 95% of rooftops untapped. Solar energy emerges as the most viable and cost-effective option for RE adoption. The ceramics industry also holds promise for RE adoption. Several major ceramic companies have engaged in discussions and responded positively. To establish a comprehensive solar project, approximately 15 types of products—such as solar modules, inverters, cables, structures, and communication devices—are essential. However, managing dust risks prevalent in Bangladesh’s cities remains a significant challenge for solar panel. Bangladesh stands at the cusp of a renewable energy revolution, and proactive measures can propel us toward a greener and more sustainable future. Advantages of Solar Energy Usage By using solar power, individuals can save up to 15% compared to relying solely on the existing grid. Solar energy provides a green alternative at a lower cost. When the off-peak grid electricity rate stands at Tk 9.75, solar energy can be harnessed at Tk 8.50. A seventy-thousand-square-foot rooftop can accommodate a 1-megawatt solar installation. This capacity translates to generating power equivalent to Tk 1 million per month. Solar projects typically span 30 years, with a maximum payback period of 5
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7 Ceramic Events worldwide
The Ceramic exposure and trade fair events across the globe have always been the best mean to interconnect the ceramic verse. The expos are usually a few days long, and as seen in Bangladesh and globally, they are jam packed with buyers, industrialists, business officials, architects and real estate personnel, along with visitors who are enthusiasts. The stalls are local and international businesses showcasing the best and the latest. Visitor count in such an event can reach up to and beyond 20k in Bangladesh, and in China, we’ve seen that number reach six figures. Expos bring about an infusion and adds to the dynamics of the market. The world becomes smaller under one roof, the market gets bigger as global companies collaborate, thus enriching the market place. To name a few of these impactful events, here are noteworthy 7 from around the world: Asean Ceramics (11-13 December, 2024) The 2024 Asean Ceramics exhibition is coming up on the 11th of December and will end on the 13th. It will be hosted at the Saigon Exhibition and Convention Centre in Ho Chi Minh city of Vietnam and will showcase the latest technology, advanced Ceramics, technology used in the manufacturing process, and much more. Asean Ceramics Exhibition had 3000 visitors in 2023, had 200 brands participating, and had more than 200 delegates for the conference. The event was a grand one and a sizable networking hub. Indian Ceramics Asia (5-7 March, 2025) Centered around ceramics and bricks, Indian Ceramics Asia in Gujrat is a one of a kind annual event that brings in key players from around the world. We’ve seen one of the events being hosted at the Helipad Exhibition Centre of Gandhinagar, Gujrat, on 6th March 2025 and continued till the 7th March. The 17th annual event in 2023 was three days long as usual and had 100 companies from 11 countries catering to 6440 visitors. Visitor count for 2024 event was 8200 approx. and there were more than 200 exhibitors. Indian Ceramics Asia is a B2B platform that harbors suppliers and buyers of raw materials and machineries. This event is the ground for two events jointly taking place: India Brick and Roof Tiles Expo and Engineering and Technical Ceramics Exhibition. Indian Ceramics Asia also featured workshops, seminars, and discussions from esteemed Indian officials who talked about improving and increasing trained labour force in India, innovative solutions for the energy and raw material crisis, waste disposal technology, and much more. Foshan Uniceramics Expo (18-22 April, 2025) With over a 100,000 sq.m of exhibition space and 1200 exhibitors, Foshan Uniceramics Expo is a spectacular joint event in Foshan, China, and a leading event in Asia as well. The event welcomes some 150,000 visitors each year, as the two Expos collaborate- Technology Expo and Ceramics Expo. Going through the array of companies lined up at one of the expos, one could see abundance of ceramic tiles, some of Italian and Spanish origin. Products with wear resistance and antique features were also amongst the catalogue of participating companies. SACMI displayed the latest technology in their allocated space, playing an integral role at the event. Asian largest Expo and an esteemed event, Foshan Uniceramics Expo is ever-growing. Ceramic Expo USA (April 28– 30, 2025) USA have had a substantial contribution to global ceramics and the Michigan Expo is a great place to see a cluster of it. Technical ceramics and innovation, both unleashes at this event, highlighting machineries and technology for efficiency and growth and connecting engineers with state of the arts equipment. Product developers and engineers connect with businesses at the event, and it turns to a buzzing ground. North America’s leading technical ceramics exhibitions and conference, Ceramic Expo is held at Michigan, USA, at the Suburban Collection Showplace. Exhibitors such as Bosch, Lithoz, Fiven, among others, participate in the event. Besides finding the latest technology at the event, a visitor goes through an immersive experience where they get to learn from experts, do face to face meetings and much more. Ceramics China (18-21 June, 2025) Another grand event, an expo that welcomes a whopping 80,000 visitors every year, is the Ceramics China, hosted in 2023 at the Canton Fair Complex in Guangzhou, China. The event fosters ‘new’ when it comes to technology and materials for the manufacturing process , and encompasses elite high end companies within its body. The 38th edition of this event aims to gather global innovations for a holistic development of the industry. Other focal points include new generation hydrogen hybrid combustion technology, waste heat recycling technology, AI visual technology, industrial robotics, and much more. The permeability of participating in such an event depends on awe so many factors. The event allows a lions share of its space to machines and spare parts, accounting to 45% of exhibitors. Visitors from beyond borders attend the event adding up to 9.2% of the entire visitor count. CERAMIC EXPO Bangladesh (27-30 November, 2025) 4th Edition of CERAMIC EXPO Bangladesh-2025 is an international exhibition on the global ceramic industry will held in Bangladesh. It brings the local and international manufacturers, exporters, and suppliers of ceramics and related products onto a single platform to showcase their achievements earned through creative entrepreneurship and hard work, to the world. The Expo will be held at the International Convention City Bashundhara (ICCB), at the Expo Zone (Tent Hall) from 27th November to 30th November 2025. The international exhibition is expected to be attended by representatives of more than 300 global brands, manufacturers, and suppliers of ceramic raw materials and machinery from 25 countries. Bangladesh, being a high-quality producer of ceramics and having skilled manpower, low labour cost, and sufficient supply of Sulphur-free natural gas, is perfectly placed to be a strategic partner in the production and supply of ceramic goods on a global scale. As a result, the Expo creates ample scope for foreign ceramic manufacturers, buyers, and investors to explore and invest in the
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Meet Architect Salauddin Ahmed- UN HOMME AVEC DU PANACHE
Many people spend their entire lives believing that the arts and music are completely different from the hard sciences, which include physics, chemistry, engineering, and even architecture. But are they really? Enter architect Salauddin Ahmed’s Atelier Robin Architects (ARA) in Hazaribagh and marvel in the atelier’s (French for studio) all-white, lofty, and expansive interior. You will see that architecture is not truly that far from art, if at all. Walking into Salauddin’s studio was in part equivalent to getting a glimpse of his inner workings: neat, geometrically perfect, and symmetrical. Aside from the conference room, which doubles as a miniature gallery, paintings and his sketchbooks are neatly spread out in the spatial atelier, where voices echo. Salauddin, a creator as well, designed most of the fixtures and furniture in the studio. But what sets ARA’s principal architect apart from the other practitioners in the industry? His schooling is in the US. His decade-and-a-half-long stay in the US, where he studied architecture at the University of Pennsylvania, in his career-forming phase exposed him to elements of his trade that are otherwise tough to attain in Bangladesh. “I didn’t come here to settle down. I came here to try it out. During my time away from here and being involved academically, I met architect, urbanist, and architectural historian Kazi Khaleed Ashraf. He influenced me to try out my trade in Bangladesh, as there were many opportunities here when I was starting out professionally, circa 1995. Then I did discover the vastness of the architectural practice in Bangladesh,” Salauddin said, explaining why he stayed back. Then he went on to compare architecture with music, alluding to how Wolfgang Amadeus Mozart perfected music from the age of four for the love of music—not commercialisation or leaving behind a vast collection but simply a legacy. “If an architect is just building buildings at an existential level, then,” he retorted, “it’s not architecture at all. Architecture is in the conscious and the subconscious; that is the vastness of architectural practice.” As Dhaka expands northward, homogenous residential buildings are popping out everywhere. People need a place to live, yes, but these buildings are just mere cages with the most basic elements that do not remotely enhance the art of living. The schooling our young architects are receiving just deals with hyper-commercial ways of living—ways in which more buildings and apartments can be crammed into the ever-so-dwindling space of Dhaka. “The application of laws, codes, and the conduct of architecture are barely taken into consideration by the authority. All the authority cares for, almost in a military fashion, is that the buildings conform to straight lines and extremely basic designs. They are not bothered by the emotional contact that architecture bears with the art of living. Habitats that enhance the beauty of living are underscored as a passion project, and they simply don’t make a lot of money. The number of architects presently practicing is sky-high, but that number needs to be threefold as high. However, they also have the mammoth task of dictating to society how architecture works. Bangladeshi architect and urban planner Muzharul Islam embodies that ideal concept of architecture. Later on, a school was set up to learn and then unlearn Muzharul Islam to create room for fresher ideas. That has been a successful way forward, a tried and tested system through which many contemporary architects of renown have come forward. But a few exceptions cannot be an example. In a country like Bangladesh, one or two exceptions will not do,” he explained it in detail. In all sincerity, Salauddin stressed emphatically the importance of ‘averageness’. “The word average carries a negative meaning in our society. But it has been proven that a person who carries themselves with the average air is the most attractive. However, the importance of averageness is not taught at an academic level. For example, all circles don’t have to be spherical. There is beauty in a slightly elliptical and average circle as well.” This city should represent an old ‘kantha’ that is average and not gaudy, so that everyone feels a level of comfort and familiarity, thus explaining averageness. Most Dhaka residents cannot afford such luxury, which makes an average approach go hand in hand with architecture: turning an empty lot into a home. “Dhaka is growing, but as an orphan,” Salauddin said morosely. Although much opportunity is not there to salvage Dhaka anymore from its systematic ruination, “possibilities” are, however, still there. His atelier is proof of that! Walking through the mazes of what used to be the heart of the now-removed tannery industry in Hazaribagh leads to his studio. A 15-foot gate, which could almost function as a castle drawbridge, welcomes you into the imposing interior. One would be left in awe that such a magnificent studio can be set up in a relic of a retired tannery. To Salauddin, it is the will and temperament that matter. “It’s a part of my ensemble: I take immense personal struggle to show someone the possibility.” Getting back on the matter of urban design, he spoke briefly about how it is done in successful cosmopolitan cities, one in which he once resided for a while. He elaborated, “Everybody here wants a south-facing veranda. Okay, but his neighbour might be deprived of the southern wind if he takes up all the space. In New York, for example, there’s a code: your building cannot project two hours of shadow on any surface in an eight-hour window. If you cast a shadow long enough, the adjacent building will need more heating capacity in the cold and get much less sun during the day. Your design form has to respect the many constituencies of urban design. This is impossible to even imagine in Dhaka.” The long conversation ended on a beautiful note. He said, “Ninety
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Graffiti Of Revolution
The essence of what Bangladesh witnessed last July-August, during a student-led protest, which emerged to a mass rage, turned into a blood-shading revolution. Eventually, it brought us what we now call a new Bangladesh. All that went through is difficult to put into words. Every single individual who was somehow part of the revolution—the ones who were out in the streets and directly witnessed both the brutalities and the togetherness of people; those who gave shelter and food to the protestors, took the injured for medical aid, and even those who kept the spirit alive in social media—the memories of July are firmly etched in everyone’s hearts, with their fair share of bitter sweetness. Given that visual communication is very impactful, visual materials played a vital role as a monumental catalyst in this revolution. While cartoons, photographs, and videos of the atrocities instantly circulated in social media almost every day, the graffiti mostly consisted of revolutionary and populist slogans on the city’s concrete, which acted as a source of constant inspiration for the ones who were on the street during the protest and even after the chaos was over. Graffiti, as an art form, has its own distinct raw flavour. Using graffiti as a tool for protest has always been a part of the biggest revolutions and mass uprisings in contemporary world history. The role of graffiti in the July-August revolution in Bangladesh is no different. Bangladesh has a long history of using graffiti as a form of protest. Graffiti was a common tool utilised by dissenting parties to express their disapproval throughout the Liberation War in 1971 and the political unrest of the 1980s. However, the pattern of graffiti we witnessed in July-August was comparatively unique, primarily because it represented a generation that many had assumed to be politically disengaged. Graffiti, or wall paintings, first emerged in New York in the ‘60s before spreadi ng worldwide. However, it has not taken root globally as profoundly as in Bangladesh. Reflecting on 53 years of post-liberation discrimination and turmoil, young students have distilled its essence through their art. During the anti-discrimination movement, Dhaka earned the title of the “graffiti capital” of the world. The walls became vast canvases of protest, adorned with creative and heartfelt slogans and poems that delivered powerful messages to the government. Furthermore, their graffiti themes did not only address particular political complaints but also lurking issues of social justice and human rights in Bangladesh. A significant number of these graffitis were direct one-liners spray painted by the students with a lot of risk during the tense times of the revolution. Even after achieving the desired victory through the revolution, new graffiti kept emerging, depicting the scenes of revolt, resistance, victory, and even more, including portraying the most memorable events and lines with humor. With utmost care, the concrete of the metropolis proudly holds these graffitis that reverberate the spirit of the revolution, acting as a memoir and constant reminder of what must not be forgotten.
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A Journey Of a Thai Culinary Excellence of and Artistic Innovation
We are sure that there are times when you crave some good tangy Thai flavours and also miss the vibrant experience of street life in Thailand. Naming from the famous street of Bangkok, Khao San is such a place where you can meet both. Founded by four friends – Bushra Haque Sarah, Syed Sameem Shahriyar, Taposh Ghosh, and Mustafid Raiyan Khan—Khao San is more than just a dining spot; it’s a passion project. After gaining popularity in Dhanmondi, Khao San has now made its mark in the heart of Gulshan. Despite being open for only a few months, the restaurant has already captured the hearts of diners with its delectable taste and unique interior. With the air infused with tantalising Thai flavours and the atmosphere adorned with bold hues with a pinch of earthy colours, the restaurant interior pays an ode to its famous Thai street namesake, Khao San Road. As guests step into this new branch, they might subconsciously reminisce about the interior of Dhanmondi and immediately be enveloped in a newer enchantment. The restaurant not only draws its name from the famous road but also matches the vibes of the lively and bustling area renowned for its vibrant nightlife and dynamic energy. Through careful design interventions, the restaurant’s interior captures this spirited ambiance, blending the bustling vibe of Khao San Road with a serene touch of nature. We designed Khao San Gulshan with the Dhanmondi branch in mind. We tried to maintain a similar essence,” said Sheefa. Like the debut branch, the interior has been done by Rahnuma Tasnim Sheefa, the principal architect of Parti.Studio. Once you’re inside Khao San Gulshan, you will consciously notice the wooden motifs on the main door, inspired by the lotus flowers of Thailand. The same motif is also reflected in the door knobs of washrooms and a partition door, creating a cohesive design throughout the space. The designer has carefully merged the wooden motifs with the glass, creating a screening that added a modern touch to the usual traditional design element. Upon entering the space, you will be greeted by a vibrant, real tuk-tuk. The dining area is mostly an open plan divided into several zones that are connected visually yet spaced out with mesh dividers and plants. There’s also a private room for larger groups. One of the seating zones features an elevated floor space where you will discover a wall composed of a wooden window with a stunning mural painted inside and designed beside a rustic doorframe. As the architect described, the entire space is very “instagrammable.”. You will find corners or elements to take dope pictures. With splashes of vibrant hues, warm tones, and moody ambient lighting, each nook and cranny has been designed to capture the eyes of the visitors, inviting them to take a closer look and explore the decor. The restaurant design mimics the scenic nature and happening city life of Thailand, interpreted to fit into the theme. Through closer inspection, you will be able to decipher that the city-influenced part of the restaurant has warm tones of orange, red, and yellow. On the other side, the nature part has an upper hand with cool tones of blues and greens. “Throughout the space, we introduced natural plants to keep the nature found. On a wall, you will find a huge illustration with an elephant, which is a vital character from the branding. The story goes like the elephant, after exploring the city, is moving from city to jungle,” added Sheefa. To keep up with the traditions of murals in the Khao San restaurants, the architect had to face some challenges. In the Dhanmondi branch of Khao San, you will find hand-painted murals; however, due to the building’s age and damp walls, hand-painting wasn’t feasible in the Gulshan branch. As a creative solution, Sheefa introduced illustration murals in sticker format, ensuring the same artistic touch while overcoming the challenges posed by the building’s condition. The amazing representation of the ideas was displayed in the form of illustrations by Mashqurur Belal Sabri. The architect took special care to include the implementation of our local craftsmen. All the furniture used in the restaurant is designed and crafted by local artisans. The decorative items, including the metal hanging lights, are also customised and locally made. One of the major setbacks of the restaurant space was its ceiling height, which is quite lower than the average. As a result, a false ceiling was barely an option. “Though I highly oppose using false ceilings, but at rare times when necessary for concealing wiring, considering the already limited height of the ceiling, installing them would only make the space feel cramped and claustrophobic. Therefore, we minimised the use of false ceilings and chose grid wiring in the original ceiling,” explained Sheefa. The architect designed the wiring grids on the original ceiling very innovatively. Some of the grids are functional; a few are added only to make the grid design complete. The decorative items are hung carefully, keeping careful alignment with the grids. The ACs have been camouflaged very interestingly, merged with the backgrounds, allowing the murals to flow seamlessly through the space without interruptions. The murals are very artistic, reflecting the hustle and bustle of Thai city life and its nature. Within a few months of its operation, the restaurant gained unparalleled popularity in the area and is mostly packed to capacity during the peak meal hours. The vibrant and colourful décor with artsy and picturesque style combined with affordable yet authentic Thai cuisine beckons customers from far and near to Khao San to enjoy a truly enjoyable gastronomic experience
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