Imagine being able to spend a peaceful evening with your loved ones in the middle of Dhaka’s hectic city life, where indoor and outdoor areas flow together to form a kid-friendly environment. And now, in O’play, it’s all come to life.
O’Play A playful combination of colours and spaces
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Thai Emerald Dhaka A Myriad Of Browns And Blended Greens
It’s a cosy Thai restaurant that transports one into the cultures and feels of Thailand through its rustic approach and earthy colour palette. So, be prepared to feel the vibes of Thailand and enjoy the warm atmosphere with a great dining experience. Most people know Thai Emerald as a go-to place to enjoy good Thai cuisine. Since its inception in 2012, Thai Emerald has strived to bring the flavours of Thailand to Dhaka – from Uttara to Gulshan to Dhanmondi – through its design and food. It has progressed over the years. Architect Rafia said their goal was to reflect the food served and the geographical setting of the restaurant while making the design. During the design of this restaurant, she used furniture and earthy tones similar to what she did with other restaurants to connect the brand and have a sense of reconciliation with the other two restaurants in town. A few of the dining chairs and the reception table and cash counter with the lotus motifs were elements that she had replicated to harmonise it with its predecessors. The wooden blocks situated on the backdrop of the cash counter pay homage to the second branch of Thai Emerald situated in Gulshan. The space was designed with efforts to keep the restaurant spacious to better accommodate large groups of people that frequent the restaurant. This was further highlighted by creating soft visual partitions through perforated separators or more solid partitions that allow big groups to co-exist with individuals or small groups while dining simultaneously. The architect wanted the diners to have elements to explore while dining at the restaurant – large cluster of doors separating private rooms, mirrored backdrops, or lamps hanging from the walls. The diners would have unique visual characteristics to ponder. She envisioned that people should be able to properly enjoy their time there. Thus, her goal was to create a warm, inviting ambiance with a play of dimmed, hand-crafted lights and splashes of earthy tones to create a soothing, delightful atmosphere for the customers. A focal element for this particular restaurant would be the doors, enclosing the private rooms, designed to be a point of attraction. “The reflection of Thailand is brought in through elements; for example, the lotus motifs in the door handles are a direct reflection. If you see Thai design, you’ll notice the use of softer lines rather than harsh straight lines, which have been reflected in the use of curved lines in the door details with softer, rounded edges,” the architect explains. Designing the small doors and playing around with the depth and lines was an interesting element that she loved when working on the restaurant. The architect wanted the doors to intrigue onlookers instead of having a dead space with boring partitions. In keeping with modern, contemporary design, the perforated partitions are made of sleek frames and thin lines to have a stylish outlook. A lantern of ‘Beth and Chatai’ was carefully designed and crafted in the escalator zone near the entry to give passersby and incoming guests a taste of what unfolds inside. The lantern, which was a focal point, was an experimental design by the architect to challenge the bounds of what could be made with flowy waves instead of the traditional circular design. The architect also worked with multiple local artisans to create custom-designed hand-crafted lights and chandeliers made of local materials like cane, wood, bamboo, and beech. The service corridor is lined with basket-shaped hand-woven lamps that lead people into the restaurant. A mix and match of kerosene wood, gorjon wood, and plywood were used to form the wooden elements displayed in the restaurant. An essential portion of the design was focused on creating a curated colour palette of browns and greens with a touch of grey to avoid having any harsh colours and instead opt for a homogenous, complimentary, soothing colour palette. The earthy tones are further accentuated by using browns that have grey undertones so that the overall output looks well-groomed. Grey texture paint was used to highlight a wall; it includes a chamfered rectangular punch that allows a visual connection with the service corridor. “We decided, deliberately, not to use any blinds on the windows; I want the existing floor-to-ceiling windows to let in ample daylight during the day so that customers can enjoy the sun, and it also gives a spectacular view of the city during the night, “the architect said when asked about keeping the floor-to-ceiling glass windows open. She added that they have not yet had any problems regarding heat gain from the facade. A signature personal style that the architect incorporated into the design was variation in designs of the door knobs used extensively throughout the space. Starting from the door handles of the private rooms, they feature lotus halves, so when closed, they form a full lotus. The door handles were placed much lower than the standard height to create a varied look when all the doors are closed together. The door handles of the restaurant doors have linear wooden handles on glass doors, and the toilet door handles are curved inward to create a unique motif. The restaurant of Dhanmondi, too, has two entrances to cater to both lifts on opposite sides leading to the restaurant floor, a fact unique to this restaurant. The ceiling is left open to have a modern industrial feel and is painted grey to match the vibe of the restaurant, with only a thin red line of the sprinkler system showing up on the ceiling as a touch of colour in accordance with the building safety regulations. A large painting of an elephant is hung on one of the feature walls as an homage to not only the heritage of the restaurant but also to tie bits of Thai cultural elements into the atmosphere. As you enjoy dinner with a loved one in this bustling restaurant, it is possible to have an immersive Thai food experience with plenty of laughs and
Grounded in Wellness: The Story Behind Svadha
Over the past decade, Bangladesh’s spa and salon culture has gone through a quiet but striking revolution. The once-flashy, first-service catered parlours have given way to curated wellness havens that prioritize experience over gimmicks. From Faux-Thai facades, a new design language is emerging. At the forefront of this transformation is Svadha, the country’s first salon to fully integrate Ayurveda into its core philosophy. But it’s not just their services that set them apart, it’s the atmosphere. Their aesthetic blends the royalty of Mughal architecture with the earthy soul of Marrakesh, creating a space that feels both grounded and luxurious. Svadha is a family-led vision brought to life by Rumjhum Fattah, her brother, Md Golam Rezwan, and sister-in-law, Behtarin Chowdhury Ridma. While the trio has long been a part of Bangladesh’s RMG sector, Svadha marks their first foray into the world of beauty and wellness, and they’re doing it on their terms. The name Svadha, derived from Sanskrit, beautifully translates to “self-care” and “self-love”—an ethos that defines everything the brand stands for. “At Svadha, we’re not here to sell beauty or grooming services,” says Rumjhum. “We’re here to create a space where people can slow down, tune in, and prioritize their well-being.” Svadha is located in the heart of Gulshan Avenue and comprises a total area of around 3300 square feet. The interior, designed by the creative minds at Studio R.A.R., is a visual and sensory ode to stillness, grounding, and mindful indulgence. “Svadha is a true embodiment of peace and tranquillity,” shares co-founder Behtarin Chowdhury Ridma. “From the lounge to the treatment rooms, we wanted every inch to feel like a retreat, where the stress of daily life simply melts away. To achieve that, we explored a palette of earthy tones and tactile, natural materials.” She pointed out that most salons in the city are built around speed and efficiency, often at the expense of comfort. “Everything is so fast-paced—walk in, get the service, walk out. There’s hardly ever a moment to truly unwind,” she reflected. At Svadha, the philosophy is deliberately different. The space is intentionally kept open and airy, avoiding unnecessary partitions or a heavy-handed layout. “We wanted to let the space breathe, just like our clients,” she added. There are no false ceilings or forced divisions; instead, the design embraces fluidity, allowing natural light and movement to flow freely. Catering to working women, Svadha brands itself as a wellness retreat. “Our clients come not just to look good, but to feel good. After long hours at work, they deserve to be unrushed, cared for, and truly pampered.” Drawing inspiration from Moroccan and Indian architectural traditions, the space features intricately carved wooden mirror frames, classic oil lamps, and a striking antique doorway that sets the tone from the moment you enter. A gentle water fountain hums in the background, further enhancing the atmosphere of calm. “We wanted to infuse the space with elements of nature and its calming rhythms,” shared Rumjhum. “The water fountain, placed thoughtfully within the layout, is a quiet homage to that intention, a gentle nod to movement and serenity. Throughout the space, you will find indoor plants too” Lighting, too, was carefully curated to complement this ambiance. There’s a deliberate avoidance of harsh, bright lights. Most areas are bathed in soft, ambient illumination, dimmed and mellow to encourage relaxation. However, in zones like the makeup and hair stations, where precision is key, the lighting is thoughtfully intensified to ensure clarity without disrupting the overall calm. One of the standout features of the salon is the textured wall next to the reception where the metal brand name is hung. There is also a graffiti wall, commissioned by a Fine Art student of Dhaka University where Mughal-themed flowers are painted. Every piece of furniture in the salon has been custom-crafted in-house. Each zone has been thoughtfully planned to serve its specific purpose, whether it’s a quiet waiting lounge, a private treatment room, or a styling station. Every detail, down to the custom-built furniture, typography on the walls, and curated lighting reflects Svadha’s vision of a wellness destination that feels both intimate and elegant. Written by Kaniz F Supriya
Tradition Wrapped In Modernity: Terracotta Tales
In the fast-moving pace of Dhaka city, do we not all feel the need to slow down, away from the chaos, experience the presence of the surroundings, and stay in the moment? Inside the premises of the Tejgaon branch of Aarong, Terracotta Tales pays homage to the local craftsmanship. It is a place dedicated to the warm and sentimental dishes and the comforting and heartfelt ambiance that make us long for home. Rafia Mariam Ahmed, principal architect of Hive Architects, designed this beautiful restaurant having intimate dialects with details. When an individual experiences space, what does make one recall it? What works there is the phrase: “design is in the details.” The goal of embracing details is to get you to think critically and present the best possible solution —right from the beginning. That is why details are important. They can keep us coming back, or they can keep us from coming back. And definitely, that comes from a good number of researches. Terracotta Tales is one such location where traditional village home details are infused into a minimal modern portrayal. Terracotta Tales and the adjacent bakery, Dough Diaries, are in a joint venture with Aarong. They are one of the restaurants under the Emerald Restaurants, with other operational restaurants being: Thai Emerald, The Red Chamber, Grove, Trouvaille, Gusto, and Emerald Bakery. The structure the restaurant belongs to was initially designed by Vitti Sthapati Brindo Ltd. alongside the Aarong outlet. The outlook of the structure, starting from the large openings, landscape, and interior to the detailed texture on the outer surface – all were later added as the journey of designing this tale began. The theme and menu of the tale were to be Bengali cuisine, from where conceptualisation of the space began. “I started going back to our roots of being a Bengali. I wanted to pick the elements so rich with history, which had been used daily in our culture, for so many years, and blend these elements with modernity. I wanted to design a space that would take us back to where we belong, a place more oriented towards slow living,” Ms Rafia shared. The space is an abstract representation of a mud house, the softness of which is found in the details of rounded corners of walls, doors, and windows. The unevenly matte polished surfaces with raw, warm earthy colours take you to the affection of the rural aura. Even at night, the lighting is as such to create the ambiance of a warm-toned hue of “prodeep” (dimmed fire lamp). The centre light pieces are delicately handwoven cane shades. Terracotta has been used in many details of this space. In the shade of the walkway, with that of the semi-outdoor space on the rooftop, and the centre of attraction is the wall of the stairway that leads to the rooftop dining. The wall is composed of thin slates of terracotta tiles arranged in triangular patterns, which creates dialects with the light from the sky at different hours of the day. The lanterns used in the rooftop space are also custom-made of burnt clay. As clay is a vital component of humans, country, and roots, the concept and name were associated with terracotta to represent its power of affection. Tales of local artists and craftsmen were incorporated into the design by the use of cane lanterns and clay lamp shades and the famous “Tepa Putul” (a local handmade clay doll of a specific style). Potters and artists made larger sizes of these usual small-scale dolls that are placed on niches as commonly seen in the mud houses. Framed rustic metal jewelry and decorative mirror are added to the wall to represent the daily used materials in a rural mud house. The landscape is designed to wrap an individual with nature. The restaurant is pedestrian-only, with no vehicular connectivity directly, focusing on the practice of being close to nature. The walkway has a beautiful line of bamboo trees on one side and specifically selected floral trees on the other. There is also an outdoor sitting area where the hard surface meets the green in an undulating line. A small body of water curves along the structure is an abstract form of “pukur” (a pond) as commonly seen in the rural context. Ms Rafia said, “The mere attempt was to get out of the edged effect of modern city life to a more mellow and soulful experience – Where one can only indulge in the presence of themselves, the company, and, of course, the food. The trees shed flowers and leaves, creating an inviting bed of nature for the people exploring the outdoors. The curved walkways toward Dough Dairies also give you a feel of the rural memories.” The subconscious nostalgia with the cane-woven furniture details makes one reminisce childhood memories from the ancestral homes. The utility area has been partitioned with cane-weaved partitions to camouflage it in the interior. The wooden curtain rails and the door handles add value to the theme, complementing the colour palette. A few subtle colours are added by using a floral print material on the back of the seats, preventing the guests from feeling monotonous. Old ceramic plates are decorated on the wall, making a spectacular composition of colours, history, and belongingness. On a bright sunny afternoon, when the sun kisses the shallow water next to the large window with curtains of translucent softness, the sheening glitter of the rippling water reflecting on the ceiling catches one’s attention while being indulged in the nostalgic local cuisine. The soul runs through the handcrafted details and the softness of the ambiance makes one feel warm, cozy, and at home. The modern city crowd is so much more over-oriented towards a captivated lifestyle that even a natural splash of water becomes a form of irritation. Terracotta Tales is a space to celebrate that naturally unnatural necessity of life that people are slowly getting carried away from. Authored by Rehnuma Tasnim Sheefa