The Art of Playful Design A Look Inside BRAC University’s Child-Centric Sanctuary
A new chapter in early childhood care begins with the opening of the second BRAC University Daycare Centre, located in the vibrant Badda Campus of BRAC University, Dhaka. This thoughtfully designed facility serves as a sanctuary for children up to eight years old, offering a nurturing environment that prioritizes safety and development. Designed by Dwm4 Intrends, with an enchanting lighting scheme from Miro Lighting, the daycare centre is a dynamic and imaginative world where play, learning, and exploration
Nature Draped in Modern Elegance Story of BOHO Bangladesh
As we turn back towards nature and value the earth more than ever, are we equally ready to embrace green décor to adorn our spaces? Bangladesh has a rich tradition of ceramics, from glossy dinnerware to heritage terracotta. Yet when it comes to home décor, the exploration has often leaned on the familiar. Boho Bangladesh has taken on such a challenge with grace, weaving modern sensibilities into age-old elements of nature. Born by the
A Carnival of Crafts and Community
Dhaka’s winter evenings are about to take on a new glow as Aarong ushers in the return of its Winter Wonderland, an immersive showcase where rural women’s artistry meets festive joy, turning December nights into a living tapestry of culture and creativity. Now in its second season, the month‑long festival is more than a carnival—it is a crafted journey into Bangladesh’s artisan heritage, blending music, food, games, and storytelling with the warmth of community celebration. The event
Marina Tabassum, eight other eminent citizens, and a music band to receive Ekushey Padak 2026
The government has nominated globally renowned architect Marina Tabassum, along with eight other eminent citizens and a music band of Bangladesh, for this year’s Ekushey Padak—the country’s second-highest civilian honour—for their outstanding contributions in their respective fields. The other honorees are Farida Akhtar Bobita for film, Prof. Md Abdus Sattar for fine arts, the late Ayub Bachchu and the band Warfaze for music, Arthy Ahmed for dance, Islam Uddin Palakar for theatre, Shafik Rehman for journalism, Prof. Dr. Mahbubul Alam Majumdar for education, and Tejos Halder Josh for sculpture. The names for the Ekushey Padak 2026 were announced on February 5. The list was disclosed by Chief Adviser’s Press Secretary Shafiqul Alam at a press briefing, where he said the nominations had been finalised at a meeting chaired by Cultural Affairs Adviser Mostofa Sarwar Farooki. Short profiles of the recipients: Marina Tabassum (Architecture): An internationally acclaimed architect known for her climate-responsive designs, she is also a two-time recipient of the Aga Khan Award for Architecture. Farida Akhtar Bobita (Film): A veteran actress of Bangladeshi cinema whose career spans several decades. Her powerful performances have made a lasting contribution to Bangladesh’s film fraternity. Prof. Md Abdus Sattar (Fine Arts): A distinguished artist and educator who has played a significant role in the advancement of fine arts in Bangladesh. His works resonate with cultural memory and a strong sense of aesthetic harmony. Late Ayub Bachchu (Music): An iconic rock musician who redefined the sound and spirit of modern Bangladeshi music with his powerful guitar work and songwriting. He is considered the finest guitarist in the country. Warfaze (Music – Band): One of Bangladesh’s most influential rock bands, recognised as pioneers of heavy metal and hard rock. Their nomination marks a historic milestone as the first rock band to be nationally recognised. Arthy Ahmed (Dance): A distinguished dancer and choreographer, celebrated for her contributions to both classical and contemporary styles. Islam Uddin Palakar (Theatre): A respected theatre artist and director whose work in performance and direction has enriched the cultural fabric of the nation. ‘ Shafik Rehman (Journalism): A veteran journalist and columnist known for his bold, socially conscious commentary. His fearless voice has left a lasting imprint on media and public discourse. Prof. Dr. Mahbubul Alam Majumdar (Education): An eminent scholar and academic leader whose vision and dedication have had a lasting impact on institutional growth and educational quality. Tejos Halder Josh (Sculpture): A prominent sculptor known for his evocative, socially conscious, and expressive artworks, which have earned him widespread recognition in Bangladesh’s art community. Written By Tasmiah Chowdhury
Hands of a Hundred Thousand Stories
In a large workshop, the air carries the smell of moist clay and burnt oil. Before a single bone china plate reaches the station of Morium Begum or Kamrun Nahar, it has already gone through many steps. It has been shaped by machines, fired until it is as hard as stone, and covered in liquid transparent glaze. But in the final stage of its creation, the loud sounds of industry fade. The atmosphere becomes quiet and focused. Here, hands that know the journey from raw clay to finished vessel perform the most delicate work. These are the hands of artisans. They guide thin, fragile decals onto smooth ceramic surfaces. Each touch is important. Each movement is a blessing on products that will travel to dinner tables around the world. These hands belong to Morium Begum and Kamrun Nahar. They are senior workers, known as “Uchha Dakkhya”—high-skilled artisans. Their lives are deeply connected to this place. Morium has worked in the Export Decoration Department for 25 years. Kamrun has spent 22 years in Bone China Decoration. Their story is not about mass production. It is about careful, patient work and the building of a future. “I’ve been working here for 25 years,” says Morium. Her voice carries conviction. It is more than loyalty to a job. “It doesn’t even feel like we are at a job.” In Bangladesh, factory work is often temporary and difficult. Many workers move from one place to another, facing harsh conditions. So what makes this factory different? What unwritten promise has turned it into a home for these women for more than two decades? The answer is not only in the products they make. It is in the lives they have built through this work. A Day’s Work: The Rhythm of the Kiln In the wide world of ceramic manufacturing, the decoration department is special. It is where the object finds its soul. It is a major step before completion, the moment when a blank plate or cup becomes something unique. Morium and Kamrun are the guardians of this transformation. Their days follow a rhythm shaped by tens of thousands of hours of practice. The morning begins not with machines, but with quiet preparation. They clean their stations. They arrange their tools. They prepare the raw material: stacks of ceramic ware, called “oil” in factory language. Each piece is carefully wiped to make sure the surface is flawless. Then they turn to the decals. These are intricate designs printed on special paper. The paper is dipped in water. Slowly, the design loosens from its backing. It is ready to be transferred. This is the most delicate moment. They lift the fragile film of colour from the water and slide it onto the ceramic surface. The placement must be perfect. The design must flow with the curves of the cup or bowl. No machine can do this. Only memory, skill, and an artist’s eye guide them. Once the decal is in place, they use a simple rubber tool. With gentle strokes, they press out every tiny air bubble and drop of water. “The design is placed on the ware, and then a rubber tool is used to gently rub and set it,” Kamrun explains. Her hands mimic the motion. “After it’s fired, the design is permanent. It won’t even wash off.” The final firing, called Decoration Firing Kiln (oven), makes the design indelible. The decorated pieces go back into the furnace. The heat fuses the decal into the glaze. The process is technical, demanding, and repetitive. Yet the meaning of their work goes beyond mechanics. To understand why they have given their lives to this craft, one must look at the culture of the factory. More Than a Factory: A Foundation for Family For Morium and Kamrun, the factory has been the backdrop of their adult lives. They entered as young women. Over time, they became matriarchs. The culture of the workplace shaped them as much as the skills they learned. It is a culture built on respect. On the factory floor, there are no raised voices. No harsh commands. The sound is a low, cooperative murmur. This is very different from the verbal abuse that they hear is common in other industries. “We don’t speak to anyone harshly here,” Morium says. “We don’t even raise our voices.” This dignity is matched by flexibility. It allows them to be both workers and mothers. When their children had exams or when illness struck, they could take leave for 15 days, even a month. They did not fear losing their jobs. This security is rare. “It’s just like a government job,” Kamrun says. “We can take a month off if we need it. You won’t get that anywhere else.” Support is built into the system. There is a medical centre with doctors and nurses. There is a daycare for young children. But the strongest support comes from the community itself. The women call each other sisters. They share joys and sorrows. One story shows this bond clearly. At the wedding of a cook’s daughter, workers pooled money to help with expenses. The “chairman madam” attended the celebration. Management and staff stood together. In such moments, differences of religion or background disappear. They eat together. They work together. They share goals. This respect, flexibility, and community have created stability. It is the foundation on which Morium and Kamrun have built their lives. It is what allowed them to dream of something lasting for their children. From Artisans to Architects of the Future The true measure of their decades of labour is not in the countless plates and cups they have decorated. It is in the futures they are building. Their hands have shaped clay, but they have also shaped possibilities. Morium is now the sole provider for her family. Her husband, once a worker at
SUNSHINE BRICKS: Champion of Green Construction
“It’s not about 10-hole bricks. It’s about a formula for a lifetime investment.” That is how Sakif Ariff Tabani, vice chairman of Mirpur Ceramics, Khadim Ceramics and Sunshine Bricks, describes the philosophy behind one of Bangladesh’s most ambitious ventures in the building materials sector. In a country where traditional red bricks have long dominated construction, Sunshine Bricks has emerged as a standout brand, reshaping expectations of durability, design, and sustainability. From Habiganj to the National Stage Sunshine Bricks was founded to revolutionise Bangladesh’s brick industry. Based in Habiganj, it serves growing demand for quality building materials nationwide. As part of the Mirpur Ceramics group, alongside Khadim Ceramics—both renowned for manufacturing excellence—the company was created to fill a market gap for ceramic bricks and blocks that combine durability with aesthetic appeal. “With a strong foundation in ceramics, Sunshine Bricks was launched to evolve into a leading brand in Bangladesh’s ceramic bricks and structural clay product industry,” said the vice chairman. Traditional red bricks offered strength but little else. Sunshine Bricks changed that by investing in advanced technology and automation, producing materials that enhance structures while meeting the highest standards of quality. “Over time, Sunshine has become a key player in domestic and international markets, offering sustainable, versatile products for diverse construction needs,” said Sakif Ariff Tabani. The “Wonder Blocks” Sunshine Bricks is not a traditional auto-bricks company using Chinese technology. It is not about producing 10-hole bricks. Instead, it is about creating products that deliver comfortable living conditions and cost savings in energy consumption. Certified for eco-friendly products, the company has positioned itself as a pioneer in sustainable building materials. Among its most celebrated innovations are ceramic clay blocks, branded as “Wonder Blocks”. “These blocks are ideal for high-rise buildings, offering eco-friendly and energy-saving solutions,” said Sakif Ariff Tabani. “Sunshine Bricks is also the first company in Bangladesh to produce facing bricks, coloured and textured bricks, and ceramic blocks—setting it apart from traditional manufacturers.” “The coloured and textured bricks offer architects and developers a wide variety of designs and colours, enabling visually striking facades for residential and commercial buildings,” he said. Produced using cutting-edge technology, these bricks ensure durability, weather resistance, and colour consistency. The ceramic blocks are designed for specific purposes such as soundproofing and lightweight building solutions. Their lightweight nature reduces the overall weight of a structure without compromising strength, while their sound-insulating properties make them ideal for noise-sensitive areas. “By introducing these products, Sunshine Bricks is addressing modern needs such as energy efficiency, noise control, and aesthetic value,” said the veteran entrepreneur. Technology at the Core Sustainability is embedded in Sunshine Bricks’ production process. The company employs state-of-the-art technology to minimise environmental impact while ensuring high-quality output. Its fully automated production line ensures precision and consistency, reducing waste and optimising resources. A key innovation is Tunnel Kiln Technology, which is far more energy-efficient than traditional kiln methods. Tunnel kilns use controlled heat distribution, allowing for consistent firing and better energy use. This reduces the carbon footprint while ensuring higher-quality bricks with fewer defects. Recycling processes are also integral. Water used in manufacturing is filtered and reused, minimising waste. Raw materials are sourced responsibly, and the company incorporates alternative, eco-friendly materials into production. Sustainability is not an afterthought but a guiding principle. The “Green Champion” Recognition The decision to invest in Tunnel Kiln Technology was driven by efficiency and environmental responsibility. Traditional vertical kilns are costly and environmentally damaging. Tunnel kilns, by contrast, allow for consistent production with less energy consumption and precise temperature control. The result is higher-quality bricks with fewer defects. The measurable gains have been significant. Energy consumption has reduced by about 30 percent, while emissions have decreased substantially. The use of alternative fuels in firing further lowers the carbon footprint. These achievements earned Sunshine Bricks the “Green Champion” title, validating its efforts. For Tabani, however, the recognition is more than an accolade—it is a reminder that sustainability in manufacturing is necessary for long-term success. Serving Diverse Markets Sunshine Bricks serves customers across domestic and international markets. Its primary clients include government entities and public sector projects, supplying materials for major initiatives such as the metro rail, railway infrastructure, and education sector developments. These large-scale projects demand durability, consistency, and high quality—hallmarks of Sunshine Bricks. The private sector is equally vital. Developers, architects, and homeowners rely on the company for solutions that are both functional and aesthetically pleasing. From luxury residences to commercial and mixed-use projects, Sunshine Bricks delivers products that meet diverse needs. Internationally, Sunshine Bricks has expanded into the Middle East and Singapore, where demand for innovative, high-quality materials is rising. By tailoring offerings to local codes and design preferences, Sunshine Bricks has ensured adaptability—key to its success across markets. A Legacy Since 1958 Sunshine Bricks is part of a proud legacy dating back to 1958, when Mirpur Ceramics first began producing bricks and building materials in Bangladesh. Over the decades, Mirpur Ceramics earned a strong reputation for quality, reliability, and innovation. That experience and commitment are deeply embedded in Sunshine Bricks today. Drawing on this rich history, Sunshine Bricks represents the modern evolution of Bangladesh’s brick and ceramics industry. Decades of expertise have been combined with advanced automation, eco-friendly technology, and modern design concepts to meet the growing demands of sustainable urban development. Leading the Transformation As Bangladesh urbanises, demand for sustainable, high-quality building materials is rising. Sunshine Bricks sees itself leading this transformation—driving the industry toward greener, smarter, and more design-oriented solutions. The company also seeks to expand internationally, showcasing Bangladeshi innovation through exports to the Middle East and Southeast Asia. With over six decades of experience, Sunshine Bricks is not just building structures—it is helping build a more sustainable and progressive Bangladesh. Redefining Building
Hands of a Hundred Thousand Stories
In a large workshop, the air carries the smell of moist clay and burnt oil. Before a single bone china plate reaches the station of Morium Begum or Kamrun Nahar, it has already gone through many steps. It has been shaped by machines, fired until it is as hard as stone, and covered in liquid transparent glaze. But in the final stage of its creation, the loud sounds of industry fade. The atmosphere becomes quiet and focused. Here, hands that know the journey from raw clay to finished vessel perform the most delicate work. These are the hands of artisans. They guide thin, fragile decals onto smooth ceramic surfaces. Each touch is important. Each movement is a blessing on products that will travel to dinner tables around the world. These hands belong to Morium Begum and Kamrun Nahar. They are senior workers, known as “Uchha Dakkhya”—high-skilled artisans. Their lives are deeply connected to this place. Morium has worked in the Export Decoration Department for 25 years. Kamrun has spent 22 years in Bone China Decoration. Their story is not about mass production. It is about careful, patient work and the building of a future. “I’ve been working here for 25 years,” says Morium. Her voice carries conviction. It is more than loyalty to a job. “It doesn’t even feel like we are at a job.” In Bangladesh, factory work is often temporary and difficult. Many workers move from one place to another, facing harsh conditions. So what makes this factory different? What unwritten promise has turned it into a home for these women for more than two decades? The answer is not only in the products they make. It is in the lives they have built through this work. A Day’s Work: The Rhythm of the Kiln In the wide world of ceramic manufacturing, the decoration department is special. It is where the object finds its soul. It is a major step before completion, the moment when a blank plate or cup becomes something unique. Morium and Kamrun are the guardians of this transformation. Their days follow a rhythm shaped by tens of thousands of hours of practice. The morning begins not with machines, but with quiet preparation. They clean their stations. They arrange their tools. They prepare the raw material: stacks of ceramic ware, called “oil” in factory language. Each piece is carefully wiped to make sure the surface is flawless. Then they turn to the decals. These are intricate designs printed on special paper. The paper is dipped in water. Slowly, the design loosens from its backing. It is ready to be transferred. This is the most delicate moment. They lift the fragile film of colour from the water and slide it onto the ceramic surface. The placement must be perfect. The design must flow with the curves of the cup or bowl. No machine can do this. Only memory, skill, and an artist’s eye guide them. Once the decal is in place, they use a simple rubber tool. With gentle strokes, they press out every tiny air bubble and drop of water. “The design is placed on the ware, and then a rubber tool is used to gently rub and set it,” Kamrun explains. Her hands mimic the motion. “After it’s fired, the design is permanent. It won’t even wash off.” The final firing, called Decoration Firing Kiln (oven), makes the design indelible. The decorated pieces go back into the furnace. The heat fuses the decal into the glaze. The process is technical, demanding, and repetitive. Yet the meaning of their work goes beyond mechanics. To understand why they have given their lives to this craft, one must look at the culture of the factory. More Than a Factory: A Foundation for Family For Morium and Kamrun, the factory has been the backdrop of their adult lives. They entered as young women. Over time, they became matriarchs. The culture of the workplace shaped them as much as the skills they learned. It is a culture built on respect. On the factory floor, there are no raised voices. No harsh commands. The sound is a low, cooperative murmur. This is very different from the verbal abuse that they hear is common in other industries. “We don’t speak to anyone harshly here,” Morium says. “We don’t even raise our voices.” This dignity is matched by flexibility. It allows them to be both workers and mothers. When their children had exams or when illness struck, they could take leave for 15 days, even a month. They did not fear losing their jobs. This security is rare. “It’s just like a government job,” Kamrun says. “We can take a month off if we need it. You won’t get that anywhere else.” Support is built into the system. There is a medical centre with doctors and nurses. There is a daycare for young children. But the strongest support comes from the community itself. The women call each other sisters. They share joys and sorrows. One story shows this bond clearly. At the wedding of a cook’s daughter, workers pooled money to help with expenses. The “chairman madam” attended the celebration. Management and staff stood together. In such moments, differences of religion or background disappear. They eat together. They work together. They share goals. This respect, flexibility, and community have created stability. It is the foundation on which Morium and Kamrun have built their lives. It is what allowed them to dream of something lasting for their children. From Artisans to Architects of the Future The true measure of their decades of labour is not in the countless plates and cups they have decorated. It is in the futures they are building. Their hands have shaped clay, but they have also shaped possibilities. Morium is now the sole provider for her family. Her husband, once a worker at
Hands of a Hundred Thousand Stories
In a large workshop, the air carries the smell of moist clay and burnt oil. Before a single bone china plate reaches the station of Morium Begum or Kamrun Nahar, it has already gone through many steps. It has been shaped by machines, fired until it is as hard as stone, and covered in liquid transparent glaze. But in the final stage of its creation, the loud sounds of industry fade. The atmosphere becomes quiet and focused. Here, hands that know the journey from raw clay to finished vessel perform the most delicate work. These are the hands of artisans. They guide thin, fragile decals onto smooth ceramic surfaces. Each touch is important. Each movement is a blessing on products that will travel to dinner tables around the world. These hands belong to Morium Begum and Kamrun Nahar. They are senior workers, known as “Uchha Dakkhya”—high-skilled artisans. Their lives are deeply connected to this place. Morium has worked in the Export Decoration Department for 25 years. Kamrun has spent 22 years in Bone China Decoration. Their story is not about mass production. It is about careful, patient work and the building of a future. “I’ve been working here for 25 years,” says Morium. Her voice carries conviction. It is more than loyalty to a job. “It doesn’t even feel like we are at a job.” In Bangladesh, factory work is often temporary and difficult. Many workers move from one place to another, facing harsh conditions. So what makes this factory different? What unwritten promise has turned it into a home for these women for more than two decades? The answer is not only in the products they make. It is in the lives they have built through this work. A Day’s Work: The Rhythm of the Kiln In the wide world of ceramic manufacturing, the decoration department is special. It is where the object finds its soul. It is a major step before completion, the moment when a blank plate or cup becomes something unique. Morium and Kamrun are the guardians of this transformation. Their days follow a rhythm shaped by tens of thousands of hours of practice. The morning begins not with machines, but with quiet preparation. They clean their stations. They arrange their tools. They prepare the raw material: stacks of ceramic ware, called “oil” in factory language. Each piece is carefully wiped to make sure the surface is flawless. Then they turn to the decals. These are intricate designs printed on special paper. The paper is dipped in water. Slowly, the design loosens from its backing. It is ready to be transferred. This is the most delicate moment. They lift the fragile film of colour from the water and slide it onto the ceramic surface. The placement must be perfect. The design must flow with the curves of the cup or bowl. No machine can do this. Only memory, skill, and an artist’s eye guide them. Once the decal is in place, they use a simple rubber tool. With gentle strokes, they press out every tiny air bubble and drop of water. “The design is placed on the ware, and then a rubber tool is used to gently rub and set it,” Kamrun explains. Her hands mimic the motion. “After it’s fired, the design is permanent. It won’t even wash off.” The final firing, called Decoration Firing Kiln (oven), makes the design indelible. The decorated pieces go back into the furnace. The heat fuses the decal into the glaze. The process is technical, demanding, and repetitive. Yet the meaning of their work goes beyond mechanics. To understand why they have given their lives to this craft, one must look at the culture of the factory. More Than a Factory: A Foundation for Family For Morium and Kamrun, the factory has been the backdrop of their adult lives. They entered as young women. Over time, they became matriarchs. The culture of the workplace shaped them as much as the skills they learned. It is a culture built on respect. On the factory floor, there are no raised voices. No harsh commands. The sound is a low, cooperative murmur. This is very different from the verbal abuse that they hear is common in other industries. “We don’t speak to anyone harshly here,” Morium says. “We don’t even raise our voices.” This dignity is matched by flexibility. It allows them to be both workers and mothers. When their children had exams or when illness struck, they could take leave for 15 days, even a month. They did not fear losing their jobs. This security is rare. “It’s just like a government job,” Kamrun says. “We can take a month off if we need it. You won’t get that anywhere else.” Support is built into the system. There is a medical centre with doctors and nurses. There is a daycare for young children. But the strongest support comes from the community itself. The women call each other sisters. They share joys and sorrows. One story shows this bond clearly. At the wedding of a cook’s daughter, workers pooled money to help with expenses. The “chairman madam” attended the celebration. Management and staff stood together. In such moments, differences of religion or background disappear. They eat together. They work together. They share goals. This respect, flexibility, and community have created stability. It is the foundation on which Morium and Kamrun have built their lives. It is what allowed them to dream of something lasting for their children. From Artisans to Architects of the Future The true measure of their decades of labour is not in the countless plates and cups they have decorated. It is in the futures they are building. Their hands have shaped clay, but they have also shaped possibilities. Morium is now the sole provider for her family. Her husband, once a worker at
SUNSHINE BRICKS: Champion of Green Construction
“It’s not about 10-hole bricks. It’s about a formula for a lifetime investment.” That is how Sakif Ariff Tabani, vice chairman of Mirpur Ceramics, Khadim Ceramics and Sunshine Bricks, describes the philosophy behind one of Bangladesh’s most ambitious ventures in the building materials sector. In a country where traditional red bricks have long dominated construction, Sunshine Bricks has emerged as a standout brand, reshaping expectations of durability, design, and sustainability. From Habiganj to the National Stage Sunshine Bricks was founded to revolutionise Bangladesh’s brick industry. Based in Habiganj, it serves growing demand for quality building materials nationwide. As part of the Mirpur Ceramics group, alongside Khadim Ceramics—both renowned for manufacturing excellence—the company was created to fill a market gap for ceramic bricks and blocks that combine durability with aesthetic appeal. “With a strong foundation in ceramics, Sunshine Bricks was launched to evolve into a leading brand in Bangladesh’s ceramic bricks and structural clay product industry,” said the vice chairman. Traditional red bricks offered strength but little else. Sunshine Bricks changed that by investing in advanced technology and automation, producing materials that enhance structures while meeting the highest standards of quality. “Over time, Sunshine has become a key player in domestic and international markets, offering sustainable, versatile products for diverse construction needs,” said Sakif Ariff Tabani. The “Wonder Blocks” Sunshine Bricks is not a traditional auto-bricks company using Chinese technology. It is not about producing 10-hole bricks. Instead, it is about creating products that deliver comfortable living conditions and cost savings in energy consumption. Certified for eco-friendly products, the company has positioned itself as a pioneer in sustainable building materials. Among its most celebrated innovations are ceramic clay blocks, branded as “Wonder Blocks”. “These blocks are ideal for high-rise buildings, offering eco-friendly and energy-saving solutions,” said Sakif Ariff Tabani. “Sunshine Bricks is also the first company in Bangladesh to produce facing bricks, coloured and textured bricks, and ceramic blocks—setting it apart from traditional manufacturers.” “The coloured and textured bricks offer architects and developers a wide variety of designs and colours, enabling visually striking facades for residential and commercial buildings,” he said. Produced using cutting-edge technology, these bricks ensure durability, weather resistance, and colour consistency. The ceramic blocks are designed for specific purposes such as soundproofing and lightweight building solutions. Their lightweight nature reduces the overall weight of a structure without compromising strength, while their sound-insulating properties make them ideal for noise-sensitive areas. “By introducing these products, Sunshine Bricks is addressing modern needs such as energy efficiency, noise control, and aesthetic value,” said the veteran entrepreneur. Technology at the Core Sustainability is embedded in Sunshine Bricks’ production process. The company employs state-of-the-art technology to minimise environmental impact while ensuring high-quality output. Its fully automated production line ensures precision and consistency, reducing waste and optimising resources. A key innovation is Tunnel Kiln Technology, which is far more energy-efficient than traditional kiln methods. Tunnel kilns use controlled heat distribution, allowing for consistent firing and better energy use. This reduces the carbon footprint while ensuring higher-quality bricks with fewer defects. Recycling processes are also integral. Water used in manufacturing is filtered and reused, minimising waste. Raw materials are sourced responsibly, and the company incorporates alternative, eco-friendly materials into production. Sustainability is not an afterthought but a guiding principle. The “Green Champion” Recognition The decision to invest in Tunnel Kiln Technology was driven by efficiency and environmental responsibility. Traditional vertical kilns are costly and environmentally damaging. Tunnel kilns, by contrast, allow for consistent production with less energy consumption and precise temperature control. The result is higher-quality bricks with fewer defects. The measurable gains have been significant. Energy consumption has reduced by about 30 percent, while emissions have decreased substantially. The use of alternative fuels in firing further lowers the carbon footprint. These achievements earned Sunshine Bricks the “Green Champion” title, validating its efforts. For Tabani, however, the recognition is more than an accolade—it is a reminder that sustainability in manufacturing is necessary for long-term success. Serving Diverse Markets Sunshine Bricks serves customers across domestic and international markets. Its primary clients include government entities and public sector projects, supplying materials for major initiatives such as the metro rail, railway infrastructure, and education sector developments. These large-scale projects demand durability, consistency, and high quality—hallmarks of Sunshine Bricks. The private sector is equally vital. Developers, architects, and homeowners rely on the company for solutions that are both functional and aesthetically pleasing. From luxury residences to commercial and mixed-use projects, Sunshine Bricks delivers products that meet diverse needs. Internationally, Sunshine Bricks has expanded into the Middle East and Singapore, where demand for innovative, high-quality materials is rising. By tailoring offerings to local codes and design preferences, Sunshine Bricks has ensured adaptability—key to its success across markets. A Legacy Since 1958 Sunshine Bricks is part of a proud legacy dating back to 1958, when Mirpur Ceramics first began producing bricks and building materials in Bangladesh. Over the decades, Mirpur Ceramics earned a strong reputation for quality, reliability, and innovation. That experience and commitment are deeply embedded in Sunshine Bricks today. Drawing on this rich history, Sunshine Bricks represents the modern evolution of Bangladesh’s brick and ceramics industry. Decades of expertise have been combined with advanced automation, eco-friendly technology, and modern design concepts to meet the growing demands of sustainable urban development. Leading the Transformation As Bangladesh urbanises, demand for sustainable, high-quality building materials is rising. Sunshine Bricks sees itself leading this transformation—driving the industry toward greener, smarter, and more design-oriented solutions. The company also seeks to expand internationally, showcasing Bangladeshi innovation through exports to the Middle East and Southeast Asia. With over six decades of experience, Sunshine Bricks is not just building structures—it is helping build a more sustainable and progressive Bangladesh. Redefining Building
Hands of a Hundred Thousand Stories
In a large workshop, the air carries the smell of moist clay and burnt oil. Before a single bone china plate reaches the station of Morium Begum or Kamrun Nahar, it has already gone through many steps. It has been shaped by machines, fired until it is as hard as stone, and covered in liquid transparent glaze. But in the final stage of its creation, the loud sounds of industry fade. The atmosphere becomes quiet and focused. Here, hands that know the journey from raw clay to finished vessel perform the most delicate work. These are the hands of artisans. They guide thin, fragile decals onto smooth ceramic surfaces. Each touch is important. Each movement is a blessing on products that will travel to dinner tables around the world. These hands belong to Morium Begum and Kamrun Nahar. They are senior workers, known as “Uchha Dakkhya”—high-skilled artisans. Their lives are deeply connected to this place. Morium has worked in the Export Decoration Department for 25 years. Kamrun has spent 22 years in Bone China Decoration. Their story is not about mass production. It is about careful, patient work and the building of a future. “I’ve been working here for 25 years,” says Morium. Her voice carries conviction. It is more than loyalty to a job. “It doesn’t even feel like we are at a job.” In Bangladesh, factory work is often temporary and difficult. Many workers move from one place to another, facing harsh conditions. So what makes this factory different? What unwritten promise has turned it into a home for these women for more than two decades? The answer is not only in the products they make. It is in the lives they have built through this work. A Day’s Work: The Rhythm of the Kiln In the wide world of ceramic manufacturing, the decoration department is special. It is where the object finds its soul. It is a major step before completion, the moment when a blank plate or cup becomes something unique. Morium and Kamrun are the guardians of this transformation. Their days follow a rhythm shaped by tens of thousands of hours of practice. The morning begins not with machines, but with quiet preparation. They clean their stations. They arrange their tools. They prepare the raw material: stacks of ceramic ware, called “oil” in factory language. Each piece is carefully wiped to make sure the surface is flawless. Then they turn to the decals. These are intricate designs printed on special paper. The paper is dipped in water. Slowly, the design loosens from its backing. It is ready to be transferred. This is the most delicate moment. They lift the fragile film of colour from the water and slide it onto the ceramic surface. The placement must be perfect. The design must flow with the curves of the cup or bowl. No machine can do this. Only memory, skill, and an artist’s eye guide them. Once the decal is in place, they use a simple rubber tool. With gentle strokes, they press out every tiny air bubble and drop of water. “The design is placed on the ware, and then a rubber tool is used to gently rub and set it,” Kamrun explains. Her hands mimic the motion. “After it’s fired, the design is permanent. It won’t even wash off.” The final firing, called Decoration Firing Kiln (oven), makes the design indelible. The decorated pieces go back into the furnace. The heat fuses the decal into the glaze. The process is technical, demanding, and repetitive. Yet the meaning of their work goes beyond mechanics. To understand why they have given their lives to this craft, one must look at the culture of the factory. More Than a Factory: A Foundation for Family For Morium and Kamrun, the factory has been the backdrop of their adult lives. They entered as young women. Over time, they became matriarchs. The culture of the workplace shaped them as much as the skills they learned. It is a culture built on respect. On the factory floor, there are no raised voices. No harsh commands. The sound is a low, cooperative murmur. This is very different from the verbal abuse that they hear is common in other industries. “We don’t speak to anyone harshly here,” Morium says. “We don’t even raise our voices.” This dignity is matched by flexibility. It allows them to be both workers and mothers. When their children had exams or when illness struck, they could take leave for 15 days, even a month. They did not fear losing their jobs. This security is rare. “It’s just like a government job,” Kamrun says. “We can take a month off if we need it. You won’t get that anywhere else.” Support is built into the system. There is a medical centre with doctors and nurses. There is a daycare for young children. But the strongest support comes from the community itself. The women call each other sisters. They share joys and sorrows. One story shows this bond clearly. At the wedding of a cook’s daughter, workers pooled money to help with expenses. The “chairman madam” attended the celebration. Management and staff stood together. In such moments, differences of religion or background disappear. They eat together. They work together. They share goals. This respect, flexibility, and community have created stability. It is the foundation on which Morium and Kamrun have built their lives. It is what allowed them to dream of something lasting for their children. From Artisans to Architects of the Future The true measure of their decades of labour is not in the countless plates and cups they have decorated. It is in the futures they are building. Their hands have shaped clay, but they have also shaped possibilities. Morium is now the sole provider for her family. Her husband, once a worker at
Hands of a Hundred Thousand Stories
In a large workshop, the air carries the smell of moist clay and burnt oil. Before a single bone china plate reaches the station of Morium Begum or Kamrun Nahar, it has already gone through many steps. It has been shaped by machines, fired until it is as hard as stone, and covered in liquid transparent glaze. But in the final stage of its creation, the loud sounds of industry fade. The atmosphere becomes quiet and focused. Here, hands that know the journey from raw clay to finished vessel perform the most delicate work. These are the hands of artisans. They guide thin, fragile decals onto smooth ceramic surfaces. Each touch is important. Each movement is a blessing on products that will travel to dinner tables around the world. These hands belong to Morium Begum and Kamrun Nahar. They are senior workers, known as “Uchha Dakkhya”—high-skilled artisans. Their lives are deeply connected to this place. Morium has worked in the Export Decoration Department for 25 years. Kamrun has spent 22 years in Bone China Decoration. Their story is not about mass production. It is about careful, patient work and the building of a future. “I’ve been working here for 25 years,” says Morium. Her voice carries conviction. It is more than loyalty to a job. “It doesn’t even feel like we are at a job.” In Bangladesh, factory work is often temporary and difficult. Many workers move from one place to another, facing harsh conditions. So what makes this factory different? What unwritten promise has turned it into a home for these women for more than two decades? The answer is not only in the products they make. It is in the lives they have built through this work. A Day’s Work: The Rhythm of the Kiln In the wide world of ceramic manufacturing, the decoration department is special. It is where the object finds its soul. It is a major step before completion, the moment when a blank plate or cup becomes something unique. Morium and Kamrun are the guardians of this transformation. Their days follow a rhythm shaped by tens of thousands of hours of practice. The morning begins not with machines, but with quiet preparation. They clean their stations. They arrange their tools. They prepare the raw material: stacks of ceramic ware, called “oil” in factory language. Each piece is carefully wiped to make sure the surface is flawless. Then they turn to the decals. These are intricate designs printed on special paper. The paper is dipped in water. Slowly, the design loosens from its backing. It is ready to be transferred. This is the most delicate moment. They lift the fragile film of colour from the water and slide it onto the ceramic surface. The placement must be perfect. The design must flow with the curves of the cup or bowl. No machine can do this. Only memory, skill, and an artist’s eye guide them. Once the decal is in place, they use a simple rubber tool. With gentle strokes, they press out every tiny air bubble and drop of water. “The design is placed on the ware, and then a rubber tool is used to gently rub and set it,” Kamrun explains. Her hands mimic the motion. “After it’s fired, the design is permanent. It won’t even wash off.” The final firing, called Decoration Firing Kiln (oven), makes the design indelible. The decorated pieces go back into the furnace. The heat fuses the decal into the glaze. The process is technical, demanding, and repetitive. Yet the meaning of their work goes beyond mechanics. To understand why they have given their lives to this craft, one must look at the culture of the factory. More Than a Factory: A Foundation for Family For Morium and Kamrun, the factory has been the backdrop of their adult lives. They entered as young women. Over time, they became matriarchs. The culture of the workplace shaped them as much as the skills they learned. It is a culture built on respect. On the factory floor, there are no raised voices. No harsh commands. The sound is a low, cooperative murmur. This is very different from the verbal abuse that they hear is common in other industries. “We don’t speak to anyone harshly here,” Morium says. “We don’t even raise our voices.” This dignity is matched by flexibility. It allows them to be both workers and mothers. When their children had exams or when illness struck, they could take leave for 15 days, even a month. They did not fear losing their jobs. This security is rare. “It’s just like a government job,” Kamrun says. “We can take a month off if we need it. You won’t get that anywhere else.” Support is built into the system. There is a medical centre with doctors and nurses. There is a daycare for young children. But the strongest support comes from the community itself. The women call each other sisters. They share joys and sorrows. One story shows this bond clearly. At the wedding of a cook’s daughter, workers pooled money to help with expenses. The “chairman madam” attended the celebration. Management and staff stood together. In such moments, differences of religion or background disappear. They eat together. They work together. They share goals. This respect, flexibility, and community have created stability. It is the foundation on which Morium and Kamrun have built their lives. It is what allowed them to dream of something lasting for their children. From Artisans to Architects of the Future The true measure of their decades of labour is not in the countless plates and cups they have decorated. It is in the futures they are building. Their hands have shaped clay, but they have also shaped possibilities. Morium is now the sole provider for her family. Her husband, once a worker at
