Urban October 2025: IAB Organises Daylong Event, Three-Day Exhibition
The Institute of Architects Bangladesh (IAB) on November marked Urban October 2025 with a day-long celebration at its Multipurpose Hall, bringing together students, professionals, and policymakers to reflect on the future of urban design in Bangladesh. Timed to coincide with World Architecture Day, World Habitat Day, and World Cities Day, the event began at 10:30 am with the opening of a three-day exhibition showcasing student urban design studio projects from architecture departments across IAB-accredited universities. Participating institutions include Bangladesh University of Engineering and Technology (BUET), Bangladesh University (BU), BRAC University (BRACU), Chittagong University of Engineering and Technology (CUET), North South University (NSU), American International University-Bangladesh (AIUB), Ahsanullah University of Science and Technology (AUST), Khulna University (KU), Shahjalal University of Science and Technology (SUST), Dhaka University of Engineering and Technology (DUET), Daffodil Institute of IT (DIT), Southeast University (SEU), Stamford University, State University, and the University of Asia Pacific (UAP). There was a roundtable discussion on “Shaping Cities: The Role and Future of the Urban Design Profession in Bangladesh” led by academicians. The exhibition offers a glimpse into the next generation’s vision for Bangladesh’s urban future, with models and visualisations of cityscapes, transport corridors, and public spaces. At 4:00 pm, the main programme commenced with a roundtable discussion titled “Interference to Planning: DAP”, led by Team Environment & Urbanisation from IAB’s 26th Executive Council. The session addressed concerns surrounding the Detailed Area Plan (DAP) and its implications for sustainable development, zoning, and citizen engagement. The theme for this year’s World Cities Day — “People-centred Smart Cities” —guided the evening’s discussions. A documentary presentation highlighted month-long Urban October activities, including editorial seminars and conventions. Experts and stakeholders then joined a panel discussion, followed by speeches from the chairperson, the chief guest. The event concluded with a vote of thanks. Held under the banner of Urban October, the celebration reaffirms IAB’s commitment to shaping inclusive, resilient, and well-planned cities. As Bangladesh continues to urbanise rapidly, today’s gathering serves as both a showcase and a call to action — urging architects to lead with vision, integrity, and public purpose. The World Cities Day 2025 event ended with the distribution of certificates. Programme Schedule: Location: IAB Office Date: November 1, 2025 Time: Exhibition: 10:30 am Main programme: 4:00 pm Written by Nibir Ayaan
The Ceramic Expo bustling with a large number of people on the 2nd day
Dhaka (28 November 2025): The BCMEA Ceramic Expo Bangladesh 2025 has gathered in the capital. On the second day of this four-day vibrant event, the International Convention City Bashundhara was bustling with local and foreign visitors, exhibitors, businessmen, engineers, architects, and representatives from various companies. The arriving businessmen held meetings with B2B, B2C, and representatives from different companies. In the various pavilions and stalls, they demonstrated their products and ensured spot orders. Senior officials of various companies stated that due to the holiday, there was a noticeable crowd of visitors from the morning, and many placed orders for products. Artist Shahin Mahmud Reza, participating in the fair for the first time, expressed satisfaction with the organization of the fair. As every year, dealer Md. Rahim Uddin has come to the expo from Chittagong. He mentioned that he has seen many new designs at this year’s expo. Following this, a seminar was held in a very large hall where relevant stakeholders participated. Mohammad Khaled Hasan, Deputy General Manager of Sheltech Ceramics Limited, the titled sponsor of the expo, mentioned that the ceramic industry of Bangladesh is a glorious sector. Earlier, we used to import ceramic products at about 80 percent, but nowadays approximately 15 to 20 percent we import; we export it and gradually extend its market. One of the visiting engineers stated that this sector has achieved an average growth of over 20 percent, setting records. Despite the gas crisis, the uninterrupted supply of electricity, and various domestic and international crises, this industry remains an emerging sector. Unlike the ready-made garment, jute, and textile sectors, which receive policy support, this sector has reached a respectable position solely due to the courageous initiatives of entrepreneurs. One could say that the ceramic industry has brought about a silent revolution in the last 10 years. Through rapid expansion in the local market, stable presence in foreign markets, and massive job creation, this industry has demonstrated that with industry-friendly policies, uninterrupted gas supply, and proper branding, it will be capable of exporting billions of dollars in the future solely in Asia. Today, there are about 65–70 ceramic factories and brands in the country producing various products including tableware, tiles, sanitary ware, and electric insulators. As a result, instead of being import-dependent like before, Bangladesh now fulfils a large part of its own demand and sends excess production to the global market; this is not a small change but rather a picture of slow yet steady success in industrial policy. The domestic market for Bangladeshi ceramic products is currently considered to be worth around 70 to 90 billion BDT, with annual growth hovering around 20 percent for a long time. Once where 80 percent of the market was occupied by foreign brands, today local companies meet nearly 85 percent of market demand; in tableware, local participation exceeds 90 percent. Some visitors stated rapid urbanisation, development in the housing sector, rising incomes of the middle class, and changes in lifestyle perspectives have contributed to this achievement. The use of tiles and sanitary products in new flats, shopping malls, hotels, and restaurants is now not just a necessity but also a symbol of prestige and taste. In this way, the ceramic industry has become directly linked to the dreams of the urban middle class, as if the contribution of this industry is silently signing on the walls and floors of every new flat. Although the export earnings of the ceramic industry are still seen by many as ‘less compared to the size of investment’, in reality, it has passed an important initial phase. In the fiscal year 2022–23, the export earnings from ceramic products reached around 43–55 million USD (equivalent to 600–650 crore BDT), which is the highest in four years. The export growth in this sector from 2021–22 to 2022–23 was over 21 percent, although in the fiscal year 2023–24, it has slightly decreased by nearly two percent. Tableware occupies the largest share in the export basket; recently, tiles have also been added. Bangladeshi ceramic products now go to over 50 countries; United States, Canada, Germany, France, Italy, Japan, and various countries in the Middle East are major destinations. In such a reality, despite slight fluctuations, it is clear that Bangladesh is establishing itself as a reliable source of ‘low-cost but quality’ ceramic products in the global market. This expo carries a very high potential for the Bangladeshi ceramic industry and also plays a vital role in the economy. Written by: Mizanur Rahman Jewel
Body and the Map: Of wounds and Hope
Beautifully curated by Sharmillie Rahman, the exhibition “Body and the Map” took place on Bengal Shilpalay between 15 and 28 December, 2024. By engaging viewers to contemplate the interaction of power, identity, and transition, “Body and the Map” was more than just another decent exhibition that had the July-August uprising as its subject matter; the exhibition not only acted as a stark reminder about what must not be forgotten but also intrigued the audiences to introspect. Consisting of the artworks of ten multidisciplinary artists, many of whom were active participants in the mass uprising that overthrew a long-standing regime, “Body and the Map” was a riveting look at societal upheaval in the aftermath of that student-led mass rebellion. The show, based on the collective memory of Bangladesh’s last July-August, is both a reflection and a debate about the force of resistance, the weight of trauma, and the possibility of change. Their work delves into the complicated reality of a country dealing with its old and fresh scars and the tiers of collective psychological state of the mass after the newfound independence. The participating artists were A. Asan, Afsana Sharmin, Ashang Mong, Farzana Ahmed, Mong Mong Shay, Niazuddin Ahmmed, Palash Bhattacharjee, Rasel Rana, Razib Datta, and Ripon Saha. The July-August uprising was characterised by an unprecedented feeling of urgency, as residents defied persecution to demand justice, equality, and dignity. However, the road to liberation came at a high cost, with bodies mutilated, lives lost, and a collective psyche permanently transformed. The show explores this dichotomy, emphasising the body as both a personal and societal vessel for history, pain, and resilience. The artworks that were adorned by the gallery space delve deeply into the concept of the body as a source of memory and resistance. Whether through physical depictions or abstract interpretations, the ten artists highlighted how the human body bears the weight of institutional injustice and governmental violence. The visual narratives starkly remind us about biopolitical disposability, demonstrating how individuals became victims of normalised violence during the authoritarian system. The relationship between body and land appears as a repeating pattern, emphasising identities defined by culture, religion, race, and gender, all of which intersect within a nation’s sovereign borders. However, these links are loaded with tension, since the scars of authoritarian authority and systematic impunity are etched on both the body and map. In the aftermath of this historic movement, “Body and the Map” illustrated the dialectics of trauma and renewal, hopelessness and optimism. The exhibition stressed the importance of open discourse and the reframing of identity and government as centralised power disintegrates and something new emerges. Despite recollections of terror, violence, and loss, the artworks elicit a cautious hope. The collective body politic, though scarred, remains resilient, signalling a determination to redefine itself and the map it inhabits. Written by Shahbaz Nahian
