Louis I.

Kahn
 Issue 01 | Vol. 01 | Dhaka, September 2015

Inaugural Issue

Editorial Panel
Mustasim M Khan
Shahzia Islam Anton
Rezaur Rahman
M A Kayesh Tanim
Nur Safa Julhaj

Editor
Mustapha Khalid Palash

Sub Editor
Shazedul Islam Shuvro

Editorial Assistants
Asif Salman
Khan Noirit Mustapha

Liaison
S M Al Mahmud

Commercial Opera�on
Zabedur Rahman
Niamul Anam Shobuj

Circula�on
Shahinur Rahman

Cover: Radisson BLU Atrium, Photo: MKP Published by

Shahzia Islam Anton
on behalf of

Quarterly DOT Apt. B1/D1, First Floor, Delvistaa Ruparup

is a journal on art and architecture of Bangladesh
SE(H)6, Road 143, Gulshan Model Town
Published by DELVISTAA Foundation, Bangladesh Dhaka 1212, Bangladesh
Printed at Ad Printing & Packaging, Dhaka Phone: +880 2 9894909, 8984466, 9894983, +8801790449944
Fax: +880 2 9888948
E-mail: dot@[Link]
/[Link] TAKA 200.00 url: h�p://[Link]/[Link]

Orange Nebula
 “Our posturing, our imagined self-importance, the delusion that we
have some privileged position in the Universe, are challenged by this
point of pale light. Our planet is a lonely speck in the great enveloping
cosmic dark. In our obscurity, in all this vastness, there is no hint that
help will come from elsewhere to save us from ourselves.”
---Carl Sagan

EDITOR’s note
Indeed - Carl Sagan denotes earth as a ‘Pale Blue Dot’ in
the universe and hints his concern that we won’t get any
help from outside to save us from ourselves. Such an
expression connotes great frustra�on where we are
being con�neously self-destruc�ve; either it is in the
name of modernity or in the name of saving the
humanity. Being poised as a ‘Pale Blue Dot’ in the
universe, the ques�on remains, what is the actual size of
the dot? The answer perhaps lies in the theory of
rela�vity that fosters the no�on that the The prac�ce by local architects dates back to early 60s of
last century and started its journey holding the hands of
“Measurements of various quantities are relative to the velocities great Master Architect Mazharul Islam. In course of �me
of observers. In particular, space contracts and time dilates”.
the local architects proved their worth in delivering any
sorts of architecture the na�on requires. The local
Such basic phenomenon, as a general being, we seldom
architecture educa�on has crossed its 50 years producing
think of; obviously there is no deep reason for which we
a plethora of qualified architects. Since early 90s the
the general people should think of such cri�cal and
architectural schools have shown a significant rise in
fundamental facts since we know these fundamental
number but surely have lacked cross-benefits from each
thoughts would not impact our daily life. However, there
other. The missing instruments of such cross-benefits are
are few who are con�nuingly processing their intellects
always felt by the prac�cing architects and students. One
on such fundamental facts. They are pushing their
such tool which helps the architects and students is a
thoughts beyond the limit in search of the crea�on of the
journal which would embody the works of different
whole universe. Standing billions of years apart from its
sec�ons and would allow it to get acquainted with the
genesis in a remote loca�on on a �ny ‘Pale Blue Dot’,
overall milieu of architecture prac�ce of the country.
such thoughts seem fanciful. Evolving through the
�me-process, we consider ourselves as the best
Realizing this necessity, Delvistaa Founda�on has come
creatures that invent as well as destroy for our own sake.
forward with a noble venture of launching a professional
Some of such destruc�ons are apparently not
journal mainly focusing on Architecture and Art, which is
perceivable within the short span of our lives but surely
des�ned to be a quarterly magazine �tled DOT: journal
have a nega�ve impact in the longer version considering
on Art & Architecture. The primary aim of the journal is
the Space and Time together in rela�on to each other.
to highlight the Architecture of Bangladesh and
Human as tropical being does not require what we
document the same. Environment, Interior Design,
consider necessary and constantly making the earth
Landscape Architecture and contemporary Visual Art of
unnatural. Some of such makings are physical or
Bangladesh will also play pivotal roles.
temporal and some are chemical or permanent.
On behalf of Delvistaa Founda�on, I do solemnly extend
If we believe in the theory of Big Bang that had happened
my gra�tude to the patrons without whose support this
in 10 -43 seconds, the smallest unit of �me, then as per
historical ini�a�ve would have remained unfulfilled. We
theory of rela�vity, all we are observing in the universe
look forward to a sustained publica�on of DOT on regular
are dots in rela�on to each other. Even if we break apart
basis.
everything to its minimal unit it would be no less than
dots. Dot, being the absolute substance, has the greatest
degree of perseverance in the universe and in our lives.
Ar. Mustapha Khalid PALASH
Therefore, the name of the quarterly journal has been
Editor
fixed as DOT to reiterate the importance of the smallest FIAB, Int. Assoc. AIA
unit that composes everything. Member, Tall Building Council [CTBUH]

DOT: SEPTEMBER 2015 03

 LIFT AND ESCALATOR COMPANY

Sole Distributor in Bangladesh since 1982

CREATIVE ENGINEERS LTD.

Amin Court (1st Floor), 62-63 Motijheel C/A, Dhaka 1000, Bangladesh
Tel: +88 02 9561926 & 9585736-7 Fax: +88 02 9561927
Email: marketing@[Link]
 content
COHESIVE WITH
NATURE 07
Renovation & Extension of Taqwa Mosque

13 THE LIBERATION WAR

MUSEUM

19 GULSHAN CLUB PROPOSAL 24 REVEALING

THE INTROVERT
Radisson Chittagong Bay View Hotel
coverstory
39
Shafiqul Alam Kiron
HOPE THROUGH
LENSES

43 NIMTALI DEURI
REVITALIZED
48
GOVINDA GUNALANKER
HOSTEL

COLLOQUIAL 52
Early Life
Professor Shamsul Wares
TO PROTECT & TO SERVE 58
National Crime Control &
Operations Monitoring Centre

REMINISCENCE
OF RIVER 63
Sagor Residence at Dhaka
An Alluvial Soul 67
72 ACADEMIC
PROJECTS 83 NATURE REDEFINED
Peda Ting Ting @ Dhaka

88 92
PRESENCE OF
ABSENCE Towfiqur Rahman:
Café Mango @ Dhaka LIFE, ART, PROCESS

05
06 DOT: SEPTEMBER 2015
 RENOVATION

Consultant:
VITTI STHAPATI BRINDO LTD.
VITTI is one of the most renowned architectural
firms in Bangladesh, notable for their
remarkable achievement through urban
development project of Ha�rjheel as well as
many exemplary projects in High rise
Residen�al & Commercial facili�es, Ins�tu�on,
Museum & Building Conserva�on,
Environmental,Monument and Interior Design.
The Atelier evolved in 1991 as a design studio
under the very guidance of Master Architect of
subcon�nent, Architect Mazharul Islam. In the
process of evolu�on in 1993, the Atelier turned
into a limited liability company ‘VIITI Sthapa�
Brindo Ltd.’ Presently lead by Architect Iqbal
Habib and Architect Ish�aque Zahir the firm
con�nues with its responsive and responsible
a�tude towards prac�ce.

VITTI considers every design project as an

opportunity for new experiments that leads to
crea�ve design solu�ons considering site
poten�als, socio-cultural & economic context
and very essence of the program.

Architects of Taqwa mosque:

COHESIVE WITH NATURE

Md. Iqbal Habib
Md. Ish�aque Zahir
Ahsanul Haque Rubel
Kawsary Parveen Renovation & Extension of Taqwa Mosque

DOT: SEPTEMBER 2015 07

 BEFORE RENEVATION

Roadside Eleva�on Lakeside Eleva�on

The inspira�on for a func�onal plan has been derived masonry, wood louvers and exposed steel truss. The
from the zoning of Sath Masjid, at Mohammadpur, façade is inscribed with wood calligraphy of Qalma
Dhaka, where the Prayer Spaces are placed on upper Tahiba impar�ng pause to the ver�cal monotony of
levels having living and storage facili�es beneath. The [Link] contemplators get to the first floor prayer
centralized served area is being flanked by the services hall by means of a wide stair situated on the Southern
on the sides. The ground floor at the old part of the side at the main entrance whereas an open to sky
mosque comprises of a central prayer area for female. ramp leads to the first floor providing unhindered
The north side contains the female res�ng and access for everyone. A pair of escalators is situated
children space. A stair way connects the north side next to the ramp landing from the first floor.
with the upper floors. The mortuary and cadaver room Accommoda�ons for the Pesh Imam and the Kha�b
is placed on the west. The west side is connected to are placed on the west and facilitated with dining,
the upper floors by stair way. There are the ablu�on living, bed and washrooms.
areas for both male and female on the south with the
medical centre adjacent to it. The second floor is the central prayer hall whereas at
the same floor there are two dorm rooms on the west
The Madrasa behind the medical centre is accessed accommoda�ng ten and sixteen persons per room
through a separate passage. The staff and society staff with a void space in between.. The ablu�on and
office and the private dining served by a kitchen are washrooms are situated on the east. The void is the
situated on the other side of the passage. A stair way courtyard for the mosque containing a volumetric
connects to the upper floors also from the south. The space from the first floor to the fourth floor. The void
east end contains the washroom facili�es with a stair, connects the old mosque prayer hall with the new
on the north, connec�ng only to the first floor and the extension embodying a common breathing space by
eastern washrooms. The north side has an outdoor reini�a�ng the tradi�onal courtyard of mosques. The
deck with lake view. It has a façade treatment of brick void is covered on the fourth floor with proof

10 DOT: SEPTEMBER 2015

 pneuma�c structure. The third floor consists of a dorm room for eighteen
people and accommoda�on for two teachers. A central prayer hall with a
terrace on the south and void in the middle is situated. The new addi�on
of fiber glass dome over fi�h floor is visible from the prayer hall. The
escalator ends up at this level. The ablu�on and wash rooms are on the
east end. The fourth floor holds the dome. The new extension
accommodates the Islamic educa�on and informa�on center. The
informa�on center is comprised of the library, a research center, class
rooms and an office bordering and viewing the void, through the fiber
glass walls. The open class room adjacent to the void are divisible into two
spaces and be covered by folded doors when necessary.

Finally the renova�on and extension of Taqwa Mosque clearly indicates

that an extensive ini�a�ve has been deliberately made to turn the new
design as an atypical of its contemporary counterparts. The renova�on
and extension of Taqwa Mosque strongly advocates the essence of
Mosque Architecture by avoiding ornamenta�on and typical forms, rather
Photo: Ahsanul Hoque made it conducive to and cohesive with nature.

DOT: SEPTEMBER 2015 11

 [Link]

MPLUSE ENGINEERING LTD.

phone: +8801711503376, +8802961080
email: infor@[Link], [Link]@[Link]
House 47, Road 02, Sector 05, Uttara Model Town,
Dhaka 1230, Bangladesh
 PROJECT

Compe��on Submissions

Project Architect:
Ar. Tanzim Hasan Salim
Ar. Naheed Farzana
THE LIBERATION WAR MUSEUM
WINNING ENTRY
Architectural Consultant: DWG
Design Competition Organized by
LIBERATION WAR MUSEUM TRUST
In association with
INSTITUTE OF ARCHITECTS BANGLADESH
year 2009

DOT: SEPTEMBER 2015 13

 Other Consultants:
Associate Consultant:
Vistaara Architects (Pvt.) Ltd.
Structural Consultant:
TDM
Steel Part: Engr. Adnan Tanvir Newaz
Pre-stress: Engr. Rafiqul Islam
Air Cra� System: Engr. Shariful Alam
MEP Consultants:
UP, JBE, AVE Engineers,
Techno Consult Ltd

Acous�cs: DWG

14 DOT: SEPTEMBER 2015 Rendered Image

The Libera�on War Museum is designed to serve as a contextual
landmark of the city and the na�on as a whole and a contemporary
pla�orm for public interac�on and exchange. The concept envisages the
need for transfer of not only knowledge, but also the spirit of our
independence for all genera�ons to come.

The formal expression of the libera�on war museum is considered to be

austere & somber as if telling a story through sight. The form, planning
and implica�on of this public space illustrate the spirit of Bangladesh’s
Libera�on War through architectonic expressions.

The heart of the project is the chamber of remembrance and realiza�on

encompassing a central void, through which light falls upon the water
body beneath -reflec�ng the eternal flame –signifying an imagina�ve
rela�on to the forces of nature culmina�ng through our minds in
co-rela�on towards victory and tranquility.

The Libera�on War Museum is an�cipated to be not only the symbol and
representa�on of our own struggle for independence of Bangladesh as a
na�on, but also a memorial to the universality of independence
regardless of boundaries.

The new Museum infuses various aspects of the libera�on war of

Bangladesh as well as an emblem & edifice embodying the ravages of war,
the agony & despair of war vic�ms & the supreme sacrifices made during
the war in 1971.
 It not only becomes an altar for homage & remembrance but also a
pluralis�c pla�orm for events & ac�vi�es for conveying the memory &
history of the war for genera�ons to come. The building metaphorically
celebrates the ela�on of victory & as well embodies the loss of lives, the
anguish & pain thema�cally by a central void space. The main eleva�on is Ar. Tanzim Hasan Salim & Ar. Naheed
not unlike a snapshot of the silhoue�e of protests & mass demonstra�ons Farzana both completed their Bachelor
during popular uprisings. The eternal flame which is a central feature of Architecture degree from Bangladesh
depicts the primordial form of human freedom irrespec�ve of na�on, University of Engineering & Technology
boundary or demography & thus becomes a con�nuum of human (BUET) in 2001. In 2003 both of them
went to Bauhaus Dessau in Germany
struggle towards holis�c freedom. under the University of Anhalt to pursue
their M. Arch. Degree. After completing
first semester they opted an extensive
travel to visit important projects in
France, Spain & The Netherlands as well
as in Germany.

In 2004 the couple started their own

office Raum_Entropy along with Ar.
Mahmudun Nobi and after working for
couple of years locally, from 2008-20010
Tanzim Hasan Salim worked at AEC
Consultants in Abu Dhabi as an Architect.
During this period the couple won the
competition for Liberation War Museum,
Bangladesh and established their current
office DWG (Design Works Group) in
2010. They have several awards in their
credential.

Their practice tends to incorporate

contemporary thoughts & functional
aesthetics towards a rational yet visually
& spatially exciting approach to form a
total architectonic experience that is
contextual, contemplative & progressive.

Ar. Tanzim Hasan Salim is a passionate

painter and participated in several group
exhibitions.

16 DOT: SEPTEMBER 2015

Photo: Tanzim Selim

SECTION Y-Y
 Bangladesh Leader in
AIR CONDITIONING SYSTEMS

CONFIDENCE TRADE LIMITED

Office: 09-05 Navana Tower, 45 Gulshan Avenue, Dhaka-1212
Phone No: +8802 9888730, +8802 9889320, Fax No: +8802 9886665
E-mail: contrade@[Link], Website: [Link]
 GULSHAN CLUB
WINNING ENTRY
Design Competition Organized by
GULSHAN CLUB LTD
In association with
INSTITUTE OF ARCHITECTS BANGLADESH
year 2010

UNBUILT PROJECT

For the project, Gulshan Club Limited, the urban dimension and the
territory are more emphaized and handled with care. The building not
only holds the iconic image for commercial Gulshan but also offers
sensi�vity towards adverse microclima�c consequences on residen�al
neighbourhood around. The design seeks ‘urban nature’ whose color is
not just green but grey, too. Trees, hedges, lawns are its part, however,
Dr. M. Saleh Uddin & roads, ar�ficial water garden, bare walls, penetra�on and ven�la�on axes
FORM.3 architects belong to it too. The site is situated at a major loca�on of the city, along a
commercial road at one side and on the other, a residen�al area.
Project Principal:
Ar. Dr. M. Saleh Uddin Therefore, the urban considera�on was of utmost significance. It was also
important to establish a corporate image which will be a contribu�on to
Design Team
Ar. Md. Didarul Islam Bhuiyan Dipu the urban layer. The club complex aims to be an icon that leaves an
Team Leader, Design imprint in one’s memory once and for all. The Gulshan Club Building is
Ar. Dilruba Ferdous Shuvra imagined to be an icon, equally powerful both during day and night.

DOT: SEPTEMBER 2015 19

 CLUB COMPLEX. One feels completely in the outdoor considera�on the character of the neighborhood, two
but with a sense of privacy & contained. The space is Urban Apertures were designed for view as well as
effec�vely an urban court where diverse ac�vi�es cross ven�la�on, with the picturesque panoramic view
ar�culate fes�ve mood and a sense of sharing. The of surroundings. The east-west urban aperture of
space has room for tennis courts and gallery, open and 75’X60’ and north-south urban aperture of 100’X60’
semi-open concerts, banquets, cultural programs, modify the site geography by linking physically the
annual gathering. And party spaces for both club building and visually the elements of the site. The
members and guests. cooling load is reduced by introducing ‘Light and Water
Garden’, ‘UV Infrared Protec�ve Glass Screen’ and
The transparency permits the celebra�on through and deep urban terraces on south.
ins�tutes a visual rela�onship with the surroundings.
This ensures the passive sharing which enhances the The light and water garden is designed not only to
community feeling. Not only to be responsive to respond to nature, but also to add value to the
tropical clima�c impera�ves, but also taking into environment, to respect the tradi�onal belief, and to

20 DOT: SEPTEMBER 2015

create a calm and scenic atmosphere. The garden front of the lotus court to connect the ground created
effec�vely complements the feeling of spaciousness on different levels and of course to take people
and light. Sunken below ground, the garden through an experience based on the modular rhythm
symbolizes a transparent volume interlocked with of footsteps. The presiden�al suits, two in number, are
building and natural landscape. The enigma�c privileged with spectacular view of Banani Lake and
sheathering at the glass screen on the edge of the cityscape by large open terraces.
watergarden adds seduc�on to the space.
In addi�on to program requirement, one club member
The water garden not only helps to reduce the cooling lounge and ladies lounge are designed to secure sense
load, but also calms and sooths you when you sit of belongingness of the club members. A semi outdoor
beside the water and enjoy your leisure. Even the space with green carpet ensures candidness with
present club me bers dine and enjoy leisure by garden private use. A small day care centre is also provided
side and this fact is addressed in the new design, too. considering the working parents and understanding
A sculptural garden-staircase is introduced right in the user group.

DOT: SEPTEMBER 2015 21

 Gulshan Club Limited shows lightness and fragility in struc ture while Project Team:
A K M Muajjam Hossain Russel
revealing its complexity to both the passing spectators and distant Saikat Barua
viewers. GCL would become a new symbol of cultural energy for the Arghy Vha�acharya
members and the city as well forming a vector to the future by its Amitava Debnath
Tania Afroz
emblema�c appearance and contents. Nazmul Islam Sieam
Mishuk Du�a
Nazia Tarannum
Shamima Chowdhury
Azrin Alom
Nabila Iqbal
Rehman Taki Ferdous

all images
Architecture begins where engineering ends c FORM.3 a r c h i t e c t s
Walter Gropius
22 DOT: SEPTEMBER 2015
DOT: SEPTEMBER 2015 23
 REVEALING
THE INTROVERT

Chittagong Bay View Hotel

24 DOT: SEPTEMBER 2015 PHOTO: MKP

 COVERSTORY

ARCHITECTS
Principal Architect
Mustapha Khalid PALASH

Design Development Architect

M. A. Kayesh Tanim

Documenta�on Architect
Mustasim Mahmud Khan With the advent of development, rapid growth and urbaniza�on, the
demand for a star rated hotel in Chi�agong, the main port city of
Coordina�on Architect Bangladesh, was acutely felt. Sena Hotels Developments Ltd. (SHDL),
Shahzia Islam ini�ated a bold venture in 2009, to construct a 5-star hotel to fill up the
Assistant Architects
vacuum.
Design Phase
Ehsanul Alam In this respect an Interna�onal quota�on to select the Architectural
Khondoker Ashifuzzaman Consultant for the Project was floated in the month of July of same year.
Mamunur Rashid A good number of reputed local and interna�onal architectural firms
Development Phase
Nayma Nawshin par�cipated in the bid. A�er rigorous selec�on procedure ‘Vistaara
Ayesha Ma�n Architects [Pvt.] Ltd.’ a reputed architectural firm of Bangladesh was
selected as the Lead and Architectural Consultant for this MegaProject.
Site in Charge Subsequently Vistaara was also bestowed with the responsibili�es to
Md. Sirajul Islam
undertake Interior Design, Ligh�ng Design, Signage Design and some
CONSULTANTS other works; it was a rare accolade awarded to any Bangladeshi firm ever.
Architectural
Vistaara Architects [Pvt.] Ltd. By the �me Vistaara already had a track record of designing and
Interior Design
Vistaara Architects [Pvt.] Ltd. successfully comple�ng several landmarks and mega projects in Dhaka
Structural Design worth of cita�on. The decision can be regarded as a mile stone in the
Digital Solu�on Ltd. chronicle of Bangladeshi Architectural prac�ce.
Mechanical, Electrical & Plumbing
U�lity Professionals
Ligh�ng Design
SHDL is an enterprise of Sena Welfare Trust and owns the property
Vistaara in associa�on with Lightbox Radisson BLU Water Garden Hotel in the prime loca�on of Dhaka for
Project Management almost a decade and was leading the hospitality business with a great
AI Associates Ltd. pride and success. Interna�onally reputed hotelier Carlson Rezidor being
Structural Design Advisor the operator of the Dhaka property has been considered for the new hotel
BRTC, BUET
at Chi�agong by the SHDL.

The success story inspired SHDL for another endeavor and the obvious
op�on was Chi�agong, since the city acutely lacked any accommoda�on
of true interna�onal standard where there was a great demand for it.

DOT: SEPTEMBER 2015 25

 11

13 04
13 14 14
06

10
14

03 08
09 07 02 09 05 09 01
12

13

15 09 14 15
13
13 13

16

01. Annex Block 09. Outdooe Sitting

02. Tower Block 10. Esccalators
03. Banquet Block 11. Banquaet Drop Off
04. Hotel Drop Off 12. Pre-Function
05. Divine Court 13. Toilets
06. Reception 14. Guest Lifts
07. Atrium Lobby 15. Service Lifts
08. Himchhori Court 16. Helical Parking

26 DOT: SEPTEMBER 2015

PHOTO: CRHG
 PHOTO: MKP

The owner of Radisson Hotel chain is globally known

Carlson RezidorGroup, who already has a service
agreement for the Radisson Dhaka. Carlson Rezidor
LEVEL 02 erstwhile Carlson Groupis in hospitality business since
1960 and manages with impeccable reputa�on more
than1300 proper�es all over the world and maintains
a strong foothold in South Asia. Their brand ranges
from top notch to affordable business hotel. The
Dhaka property is one of CRG’s most profitable one,
and given an opportunity they opted for the Radisson
Chi�agong without further ado. By reviewing design,
images, program and the sheer size and facili�es
proposed by Vistaara, the operator from the very
beginning decided to tag the Chi�agong property as
‘BLU’, the gem of the Radisson Family.
LEVEL 03

Context
Chi�agong has a rich past and there is s�ll
reminiscents of colonial architecture in the city.
During the Raj era the town was a major Railway hub
and a good number of edifices belonging to them s�ll
exist. The city also played a major role both during the
par��on of India and libera�on war of Bangladesh.
The region has the most varied culture and
topography, blessed with hills and sea, tribal culture,
flora and fauna. Nature is in full of bounty over there.
LEVEL 04

The site selected for the hotel is on SS Khaled Road, a

quaint but important road, connec�ng the main
thoroughfares CDA Avenue and Kazirdeuri. The exact
loca�on of the site is in between two slopes of
Chi�agong Club and Old Circuit House, on analmost a
flat land with a mild gradient towards the back side.
The land lot �ll almost the comple�on of the project
was 4.5 acres and was ini�ally connected by a private
30 mete long and 5 meter wide road having the Tennis
LEVEL 05
DOT: SEPTEMBER 2015 27
 03
08
01 01

03

01

07
06 08

04 04

02 07 01

02 01 05 02
LEVEL 07

10
09
01

LEVEL 06

09 09

01. Guest Lifts

02. Service Lifts
03. Toilet
04. Health & spa
05. Swimming Pool
06. BBQ Terrace 02
01
07. SHDL Office
08. Staff/ GM Accom. 09 10
09. Deluxe Guestrooms
10. Suite
11. Executive Class Lounge LEVEL 08 TO 15
12. Presidential Suite
13. Royale Suite
14. Private Pool
15. Specialty Restaurant
16. Outdoor Sitting 09
01

11 09

03

02 01
09
10

LEVEL 16

28 DOT: SEPTEMBER 2015 PHOTO: ASIF

 09

01

09 09

01
09

LEVEL 17

14
01

13 12

02
01
14

LEVEL 18
PHOTO: MKP

09 Court arena of Chi�agong Club si�ng in between the plot and SS Khaled
01
Road. Such narrow connec�vity with the main road posed a great
challenge in terms of accessibility to the property and the posi�on of the
Tennis Courts were the biggest obstacles in terms of visual connec�vity
with the main road in front. Further to these, the largest mosque of
Chi�agong behind the plot imparted another crucial factor to be
09 09

considered in genera�ng the schema�c layout for the project. In a

nutshell the proposed site, though flat and quite large in size, was a
perfect ‘pocket’ case �ll six months prior construc�on. The front por�on
02
01
of the site, which used to be the Tennis Court Arena of Chi�agong club,
09 was annexed at a later stage, leaving no way other than using it as a
parking lot and landscaped area.
LEVEL 19

Architecture
One of the prime factors that dictated the design of the hotel is the site
and its surrounding constraints. The contexts all together governed and
16
01
influenced the concept and design procedure more than any conven�onal
building. The site is at a lower eleva�on than the surroundings, the
stadium on the south and the largest mosque of the city on the north all
are found to be a sharp contrast to the USE and NEED of a star rated hotel.
15 15 This constraint worked as a basic design guideline and augmented for an
introvert building that in turn helps genera�ng an ‘Encapsulated Nature’
within. The hotel was conceptualized in such a way so that an internal
environment fit for a hotel can be created with a defini�ve blend of indoor
02 01 and outdoor spaces. Being elongated on north-south direc�on,
03 advantages have been taken in dis�nc�vely dividing the func�onality of
LEVEL 20
the property through inundated courtyards. Such divisions were the
.
DOT: SEPTEMBER 2015 29
 outcome of the local social context where some of the the 20 Storied Guestroom Block. Annex Block, being
ac�vi�es of a star rated hotel are being considered as the first building has been considered for the func�ons
‘taboo’. The three blocks of the hotel; Public, Guest like deli, retails, banks, conferencing facili�es and the
and Banquet are centered about three courtyards: Bar those would be availed by outsiders mostly. It is
Divine, Atrium and Himchhari. To be precise, these are connected by a wagon bridge to the Tower block. This
the very basic elements from which the design metaphorically designed bridge is a reminiscence of
originated and grew organically. the past, depic�ng the rich heritage of railway in
Chi�agong. The Divine Court separates the Annex
3 Courtyards in a row separate 3 building blocks Block from the main Tower Block that actually houses
dis�nc�vely considering their func�onal aspects. Out the Main Lobby, Restaurants, and above all the
of 3, 1st and 3rd courtyards are open to nature and the Guestrooms. Then a�er the Himchhori Court, the third
second one has been turned into an Atrium flanked by one joins the Banquet Hall Block with the Tower Block.

30 DOT: SEPTEMBER 2015 PHOTO: CRHG

PHOTO: ASIF

Therefore, being posi�oned at the centre the Tower

Block is flanked by two open to sky courtyards edged
by two podium blocks as men�oned. The default
linear se�ng of these three blocks gives an efficient
management in terms of facility handling and traffics
movements. Introduc�on of the courtyards thus helps
the deliberate a�empt of an introvert design allowing
ample day lights all around the interior spaces
supplemented by variety of exterior views. A�empts
have been made to create lo� spaces those are huge
in volume giving a unique experience for the users.
The Atrium, rising from the podium level �ll the top of
the tower, embodies five levels of podium and allows
bold interplay of interior spaces, helping to achieve a
different dimension. The Atrium is surrounded by op�c
fiber starry night guestroom corridor ceiling and
looking up gives celes�al feelings.

Ini�ally the whole building was considered as fair face

concrete but during construc�on period due to
technical inabili�es the podium block has been clad in
with terraco�a �les. The enormous solid walls at
podium level have been relieved with sca�ered niches
of random sizes mimicking the pigeon holes on the
hillocks whereas at Himchhori Court addi�on of two
waterfalls enhance the depic�on of the metaphors. A
unidirec�onal Tower block having the Atrium at its
centre has been conceived to allow views of the Bay of
Bengal and the Karnaphuly River from the guestrooms.

PHOTO: MKP DOT: SEPTEMBER 2015 31

 PHOTO: MKP

categories, such as standard, king, queen, junior suite

and execu�ve suite and room for disabled persons.
The special execu�ve check in lounge is at Level 16, the
Presiden�al suites along with private pool and Royal
suites at are at Level 18. . The building is terminated by
a huge but sleek metal canopy and just below that
level, a cigar bar and Italian restaurant. From this place
a 360 degree breathtaking view of the city, bay and the
country side beyond can be enjoyed.

If someone is looking for solitary �me and peace of

mind, the circular swimming and infinity pool at Level
5, on the roof of the mul�level circular parking lot, is
the ideal place. The pool, largest of its kind in the
country is associated with the health club and spa at
the same level. Facili�es includes pool proper, toddler
pool, Jacuzzi and juice bar along with commodious
deck area. The view from the roof is spellbinding; the
eye level is surrounded with greeneries of the nearby
trees, giving an impression more of a rural se�ng.

34 DOT: SEPTEMBER 2015 PHOTO: MKP PHOTO: CRHG

Owner
Shena Hotel Developments Ltd.
Operator
Carlson Rezidor Hotel Group
Implimentation Team:
Brig. Gen. Abdul Wahab, PD
Lt. Col. Zulfiker Rahman, Adl. PD
Lt. Col. Md. Reaz Uddin Khan, Dy. PD
Maj. S.M. Ghulam Kawsar, Ast. PD

Location
SS Khaled Road, Chi�agong
Area of the site: 5.5 acres
Total Built Area: 73,723 square meter
Floors: 22 in/c 5 Podium Levels & 2 Basements
Bays : 290
Keys : 245
Restaurants: 6
Banquet Hall: 2
Floor Height
Podium: 4.0 meter
Level 6: 5.0 meter
Level 20: 4.5 meter
Guestrooms: 3.6 m
No. of Car Parking: 400

PHOTO: MKP

PHOTO: ASIF

PHOTO: MKP DOT: SEPTEMBER 2015 35

 The main func�ons located at the banquet block are
two humongous banquet halls, both in area and
height, along with pre-func�on and other associated
facili�es. The Himchari Court, very well propor�oned
and decorated by mo�fs taken from Chi�agong Hill
Tracts, such as water falls, bird’s nest, flora fauna
embellish the area, and clearly visible from the pre
func�on areas. The two long span Banquet Halls are
stacked, one top of another, connected by escalators
and elevators. The sheer volume of these halls is awe
inspiring, where one really feels puny. The halls are
equipped with all kinds of modern facili�es like SIS,
Greenrooms, State of the art AV system, and enriched
back of the house facili�es. The huge roof top of the
halls is used for tennis courts for the hotel.

In the realm of architecture of Bangladesh the

Radisson BLU Bay Chi�agong View Hotel is a mastery
display of work by Bangladeshi Architects and allied
professionals, which portrays their acumen and
dexterity. The project was a fast track one and
completed in 45 months from its incep�on. Team
Vistaara no doubt deserves an ode of praise for their
laudable role.

Mustasim M. Khan

36 DOT: SEPTEMBER 2015 PHOTO: MKP, CRHG, ASIF, MKP, ASIF (ccw)
 PHOTOGRAPHY

HOPE THROUGH LENSES

Shafiqul Alam Kiron
Photographer, MAP Photo Agency

OLD AGE HOME : Basipuk, Gazipur.

Old people deserve a special place at the family. Harsh reali�es of urban
life have changed our lifestyle, resul�ng less contact �me with family
members, parents and friends. The most vulnerable vic�ms of these
circumstances are geriatric group. In some instances they have to face
some pathe�c end. The Old and Child Rehabilita�on Centre at Basipuk at
Gazipur District, a concern of Givensee Group, revitalizes the hope for
these marginalized people who have been abandoned by their families.

This issue of DOT presents some of the captures by renowned

photographer Shafiqul Alam Kiron.
40 DOT: SEPTEMBER 2015
 Shafiqul Alam Kiron is a Photojournalist,
Founder Member of Map Photo Agency.
His interests revolves around the social
jus�ce and its aspects. He believes that
photographers have a duty towards
society and should be watchful in order to
create general awareness and create an
impact.

Kiron started his career with Documentary Photography in 1997, the focus was on the Acid Survivors and the
aspects of their social jus�ce. His photography during this period earned him the World Press Photo Award, and
he had become the first Bangladeshi Photographer to be awarded same Award twice (1st Prize, People in the
News Stories, 1998 and 2nd Prize, Spot News Stories, 2000). Publica�on of his photographs in Europe (Paris
March, Biba Magazine, New Interna�onalists, Sunday Times, REVU, De Volkskrant and The Independent,
London) exposed the horrific stories of acid throwing ac�vi�es in Bangladesh to the world. As a direct result, the
Acid Survivors Founda�on (ASF), an NGO dedicated to help the vic�ms of acid throwing, was founded in 1999.
Out of his social commitment, he has been volunteering for ASF since then. In the same year he was also
awarded with the CARE France for Best Humanitarian Reportage. He is also three �mes recipient of the
Commonwealth Photographic Award.

Kiron has been professionally working with Humanitarian NGOs and Organiza�ons like - UNICEF, Save the
Children Alliance, Sight Savers Interna�onal, ILO, ADB, and CAMPE.

Kiron’s major month long exhibi�on with UNICEF and Acid Survivors Founda�on was held at UNICEF premises,
Dhaka. His images were part of a television documentary created by ABC Network in 1999. His works were also
shown at the World Press Exhibi�on in Dhaka and Amsterdam, Visa Purr L’Image, Perpignan and
MAI-Photographies in France, known as the most pres�gious photo documentary gathering in the world.

His last 17 years’ works have been compiled and published in March 2014 with a �tle “UNSTOPPABLE The
Courage Within”; a book dedicated to the acid survivors.

42 DOT: SEPTEMBER 2015

 CONSERVATION

NIMTALI DEURI REVITALIZED

Conserva�on Team The Nimtali Deuri was the first noted building built in 1765-66 during the
Abu Sayeed M. Ahmed & Team Colonial Period in Dhaka, as an entrance gate to the Nimtali Kothi or
Palace, most of which has however disappeared. This building was built
during the transi�on from Mughal to Colonial rule, and therefore, bears
many features and styles of both the periods.

The most significant elements of the structure are the Kiosks, Eaves,
Pinnacle, Marlon shaped ba�lements on the roof, kalasa shaped base of
the turrets, high plinth, hanging balconies and rectangular panel on the
exterior surface, Even the thick masonry walls built with-small hand-made
bricks, bonded with thick lime surki: mortar covered with lime surki
plaster coated with lime punning, are the tes�mony of Mughal
construc�on system. This is probably the earliest surviving building which
used wood joists and girders in the roof construc�on system. Cast iron
beams collected from railway are applied in different places in the top
floor; might have been a later addi�on.

Two layers of brick �les covered by lime concrete and supported by

�mber or iron joists are the most accepted or widely prac�ced
construc�onal system of colonial period. Thus it remains as the first
example of Anglo-Mughal Architecture in the 400 years old capital city
Dhaka, followed by many more. Its polygonal shape in plan is unique,
which dis�nguishes it from other gate-houses of both earlier and later
period.

Regarding the func�onal significance, this building was not only a

gate-house; rather it was the center of a socio-religious life of the
inhabitants of Dhaka. The grand Eid procession of Dhaka used to originate
and terminate at the Nimtali Deuri.

DOT: SEPTEMBER 2015 43

 Timeline of
Nimtali Deuri

1940
1863 Sketched by
De Fabeck-
Sketched by De Fabeck- Fredrick William
Fredrick William Alexander Alexander

photographed by Painting by Alam Masafwer Asiatic Society

Historian Taufoor

1833 1850 1952

Two layers of brick �les covered by lime concrete and

supported by �mber or iron joists are the most
accepted or widely prac�ced construc�onal system of
colonial period. Thus it remains as the first example of
Anglo-Mughal Architecture in the 400 years old capital
city Dhaka, followed by many more. Its polygonal
shape in plan is unique, which dis�nguishes it from
other gate-houses of both earlier and later period.

Regarding the func�onal significance, this building was

not only a gate-house; rather it was the center of a
socio-religious life of the inhabitants of Dhaka. The
grand Eid procession of Dhaka used to originate and
terminate at the Nimtali Deuri.

The Deuri in its be�er days housed many people and

ins�tu�ons. The monument was used as a gate house
of Nimtali Palace Complex and was also Nakkarkhana
and Nahabhatkhana since its incep�on in 1766 �ll
1843. The func�onal use of the small edifice between
1843 and 1913 is s�ll unknown. The Deuri was used as
a Museum office from 1913 to 1933. The Deuri was
used for a sort span of �me as a residence of Proctor of
the Dhaka University before Asia�c Society started in
1952.

Deuri= Gate; Kalasha= Pitcher; Surki= Dust of clay Brick

Nakkarkhana= Servant’s Quarter; Nahabatkha= Fes�val Place

44 DOT: SEPTEMBER 2015

 2010 2012
Before Restoration Present Day

of Bangladesh During restoration

2 2011

First Floor Plan

DOT: SEPTEMBER 2015 45

 Govinda Gunalanker Hostel
Chittagong, Bangladesh.

The project is a students’ hostel located in Jobra, a village situated

adjacent to the University of Chi�agong. The site is flanked by agricultural
land on the east and the west, a water body on the north and the
university campus on the south that originally had a Buddhist Temple and
few other incomplete structures accommoda�ng monks and students of
Buddhist faith. The topography of the site was ini�ally undula�ng and had
li�le vegeta�on. The incep�on program for the Project was to design a
single building for fi�y students’ accommoda�on with Dining, Lounge,
Library and Supervisor’s Office Later a�er the construc�on began further
fund was commi�ed by the Donors that subsequently prompted the
Client to increase the size of the project program. Addi�onal site had
been acquired by the Client during a�er the commencement of the
Client: Croce Rossa Italiana
construc�on. Design and Construc�on: 1994-1998

The addi�onal works include a Second Building, an Overhead Water Tank Architect (1994-95):
and site developments. The new Building houses Accommoda�on for Diagram Architects
Saif Ul Haque
students, guests and monks, a Mee�ng room cum Library for the Temple Jalal Ahmad
and a Mul�purpose Hall. Salma Parvin Khan

The total work was completed in two phases over a period of slightly more Architect (1994-95):
Saif Ul Haque Sthapa�
than four years. The construc�on works of the first phase commenced in
Saif Ul Haque
February 1995 and completed in July 1996 while the works of the second Salma Parvin Khan
phase commenced in January 1997 and completed in December 1998. Muhammad A�qul Haq

48 DOT: SEPTEMBER 2015

 PROJECT

DOT: SEPTEMBER 2015 49

21
 Ground Floor Plan Hostel 1 First Floor Plan Hostel 1

Hostel 1 is a square shaped two storied building with func�ons. The inclusion of the court, as the focal
an open to sky court and rooms around it. The building point, has been designed in such a way that it acts as a
is a masonry construc�ons with R.C.C lintels and slab. place for assembly ensuring connec�vity and
The extra over hang RCC Roof provides significant facilita�ng clima�c comforts. The circula�on verandah
protec�on from the adversi�es of the climate. Hostel 2 on the periphery acts like a gallery for the court. The
is an ‘L’ shaped building having accommoda�on for court has been dri�ed to the adjacent water body
students and guests in one part and the Mul�purpose through Hostel 2 with steps leading to the edge of the
Hall and the Monks facili�es on the other. Due to poor water. The overhead water tank has a viewing gallery
soil condi�on, the structure is of R.C.C. frame with on the top for enjoying the picturesque surroundings.
brick cladding and infill in ground floor and only infill in As a whole the design shows a great sympathy to the
the first floor. This building also has roof overhang for exis�ng nature without at all dicta�ng its vicinity and
protec�on from rain and sun. natural components either physical or clima�c.

Hostel 1 embodies the exis�ng Temple and Hostel 2 Drawings and photographs are copyrights of
encloses a large court designed for social and religious Saif Ul Haque Sthapa�

50 DOT: SEPTEMBER 2015

 Saif Ul Haque (b.1958) is an architect based in
Dhaka, Bangladesh and involved in prac�ce,
research and educa�on. His built works include
the BRAC Training Center at Faridpur , Banchte
Shekha Center at Jessore , Camp house for
French Archaeological Mission at Bogra and
Govinda Gunalanker Hostel at Chi�agong , all in
Bangladesh. His publica�ons include
‘Pundranagar to Sherebanglanagar: Architecture
in Bangladesh,(1997) and ‘Sherebanglanagar:
Louis I. Kahn and the making of a Capital
Complex’ (2002). He has been an adjunct and
guest faculty as well as guest cri�c at various
ins�tu�ons in Bangladesh and abroad.

Sec�on AA Sec�on BB

DOT: SEPTEMBER 2015 51

Photo: Sanjana Munia
 COLLOQUIAL
PROF. SHAMSUL WARES
Early Life DOT: It is believed that in the early 60s Architecture in this part of the
world was not that common and popular as a profession. Despite of such
context what inspired you to study architecture?

“……and that’s why we got this SW: Although I was born in Bangshal area of Dhaka but was mainly
building today….no other way to really brought up in Ghorashal, a sub divisional town now under the district of
understand him, but I think he has
given us this building. We feel all the Narshingdi. Since my father was a First Class Government Officer, a�er
times for him. That’s why he has given couple of years of my birth during 1946-1947, just before par��on, we
love for us…..could not probably give had to move from Dhaka to Kolkata and then to Ghorashal. Albeit I have
that love to the right person like you
but for us…..love for people, that is li�le memory of our Kolkata and Ghorashal days but therea�er our
important. You have to understand. He se�lement at Chandpur was quite long. I obtained my Matricula�on
had enormous amount of love for the cer�ficate from Hasar Ali High School of Chandpur. At that �me we had to
people. He loved everybody…to love
everybody he sometimes did not see travel between Dhaka and Chandpur and the only means of
the very closest person.” transporta�on was Steamer. I become nostalgic watching fishermen
catching Hilsa fish, moonlit nights and many more during river cruise.
The person who shaded tears u�ering
these words, talking to Nathaniel Kahn
about the Sangsad Bhaban, is no one I was around 14 and half years old at that �me and s�ll have lot of
else but the most veteran and pioneer memories of my childhood; from the Language movement of 52 to the
in Bangladeshi architecture and its
educa�on Professor Shamsul Wares.
death of the then President Liakat Ali Khan. During those days I found
today’s famous Ar�st Monirul Islam as my classmate and friend. At that
We never tried to reveal his inner �me he was quite ardent toward drawings and gradually my affinity
sights that reared him during his
childhood and student life. This
towards pain�ngs also grew. Though my father was a religious person but
colloquial among Professor Wares and his acumen towards art and culture always inspired me. I found him quite
Mustapha Khalid Palash, Rezaur liberal and the ambiance of our family guided me to grow as a person with
Rahman along with Muntasir Hakim is wider knowledge and views. Although our family maintained strict Islamic
unveiled for those who wish to reveal
his background that made him today’s conducts, music was an inseparable part of our family. I never persuaded
‘WARES SIR’. music lesson but had interest listening to music and watching movies at
theatres. I remember mingling with Alan, a New Zealander, who used to
stay near our house.

There were many rare flowers in our neighborhood and in our precinct as
well. The house was indeed very beau�ful with a hexagonal shape in the
front part, two verandahs and white cement floor. There was a pond
behind and toilets were detached from the house. Electricity wasn’t easy
available and we had it for the first �me. My father used to warn us for
using it properly. Nevertheless, I started growing up in a proper educated
middle-class and liberal family which influenced me prac�ce liberalism in
my later part of life.

In front of Chhayabani Cinema Hall, a guy named Shadhon used to draw

the Cinema Banners using graph to magnify from small to bigger scale. I
started observing this since I was in class 4-5. I started drawing images
directly on the wall mostly using pastels or pencils.

I had a strong interest in pain�ng and used to draw with color pencils.
Together with Shunil, another friend of mine, we used to paint a lot. Our
en�re Living Room wall was full of my drawings.

Guests who used to visit us frequently asked whose drawings were those.
I felt rejoiced by hearing from my mother’s mouth that ‘My son did them’.
My father used to suggest me to draw from my imagina�on rather
copying.

Photo: Ehsanul Alam DOT: SEPTEMBER 2015 53

 since it is more u�litarian subject. So architecture can a good design. Nowadays I feel ‘drama of life’ is also
be explained as a logical scien�fic subject. We believed important as ‘drama of space’. This late realiza�on also
architecture is nothing but visual arts during student made me think about developing a sensorial
life. In the west, architecture has been said to be as architecture. I design the experience rather the house
‘mother of all art forms’; one can live without reading in literal meaning, at the same �me I focus on purity of
poems or listening songs; life starts evolving from forms and rela�onship of solid-void.
architecture
DOT: You have mentioned earlier, that every
In ancient Greece, there were buildings that looked thought/idea/concept has a basic philosophy.
like sculptures. Michelangelo, Raphael painted the However, many famous architects begin with one
ceilings of Roman buildings with artworks. Mingling of philosophy but changes with time. How do you
art and architecture is persistent phenomena which evaluate this change of basic philosophy?
con�nues �ll [Link] the Dhaka Art College, Architect
Muzharul Islam commissioned Ar�st Aminul Islam for SW: Of course this can happen. Some�mes an
a mural Novera Ahmed for a sculpture and fused art architect can consider his idea valid and does not
and architecture. an�cipate changes. However, a few may consider
changes of ideas is inevitable. In this case, ideas are
A good composi�on based on pure geometry is affected by socio-economic changes with �me. If you
inevitable for a good architecture. Conversely nature is take the incident of 9/11, you’ll see how it affected
not composed of geometry; forms like rectangle or many changes in architecture and in our lifestyle. An
triangle are absent in nature. These forms are human architect is forced to make changes due to various
inven�ons and in par�cular I am an admirer of Square factors. Nonetheless, some considers these changes
Form, its purity imparts order by its even sized arms. are temporary and does not heed toward the changes.

Studying ancient Greek Architecture, I learnt DOT: Do you think every architect must have a
dynamism in design. Hence, I try to drama�ze my philosophy? Many fail to develop their own
design with the dynamism. I include plenty of daylight, philosophy. How do you evaluate this?
lo�y spaces and focus in my designs. Focus, drama,
sequence, composi�on and order all together sums up SW: I believe, one needs to be a good human being
first. Whatever we think or do should go for the
benefit of mankind. Possessing this would help
develop one’s own philosophy. Philosophy is nothing
but ideas we conceive. However, those who are
an�cipa�ve, fall in the category of visionary architects.
In conclusion, philosophy will develop if an architect
has true passion for architecture.

Again, architecture should be such that once can grow

up in an excellent environment than just living in a
block of house. Moreover, a good architect should be
respec�ul towards his own society and culture.
Context of the country is also needs to be considered
while prac�cing architecture.

DOT: How do you compare architecture with other

visual arts in terms of its freedom and perpetual
nature?

SW: Architecture changes because it falls within living

organism’s system. He, who constructs a house also
thinks about changes. Changes are perpetual and
unavoidable in case of architecture unless it has been
declared heritage one.

54 DOT: SEPTEMBER 2015 Photo: Tahsin Reza

 PROJECT

TO PROTECT & TO SERVE National Crime Control &

Operations Monitoring Centre
Police Headquarters , Dhaka

Being the mo�o ‘To Protect and to Serve’, Bangladesh not different in Bangladesh from the rest of the world
Police Department as the client expressed its inten�on rather stringent and unprecedented in nature. In
towards a design that would best reflect this no�on. today’s complex world of criminology there remains a
The incep�on of the design was based on this primary u�er need for an establishment that can house not
objec�ve keeping in mind the other basic func�onal just the conven�onal Police Works but the other
requirements that ul�mately would make the building components to its best like Command-Control,
a safe and func�onal place for the end users. Communica�ons & Management, Monitoring of
Opera�ons, Establishments of Different Police Units,
Throughout the history “Crime” had been commi�ed Wings all over the country 24/7 the integrity and
in different ways and in course of �me its extent grows professionalism of the Police Force. The building
in many folds and could not be uprooted from the NCCOM Centre itself reflects the modern era of
society. But efforts are con�nuingly made to control it Bangladesh Police.
to a tolerable limit making lives safer. The scenario is

58 DOT: SEPTEMBER 2015

Site
6, Phoenix Road, Fulbaria, Dhaka

Building Profile
22 (with 2-Basements) Storied Office
Building with state of the art high-tech
Central Command & Analysis Centre from
level-16 to level 19 and Roof Top
Helicopter Landing Pla�orm.

Typical Floor Area

21,800 sq. �. (1932.3 sq. m.)

Parking
96 vehicular parking

Present Status
The building has been constructed up to
seven stories in the first phase.

DOT: SEPTEMBER 2015 59

 UTILITY UTILITY

1'-6"

0'-6"
1'-4"
0'-8"
3'-7"

0'-6" 3'

0'-5"
3'-6" fire rating
door
9'-4"

Lift
Lobby
1'
1'
1'
Glass brick
1'
1'
1'
1'
1'
1'
1'
1'

5'-1" 5'-1"

fire rating
door

Architectural Design
Department of Architecture
Ministry of Housing & Public Works

Chief Architect
Ashanul Haque Khan
Deputy Chief Architect
Kazi Golam Nasir
Assistant Chief Architect
Nowajish Mahbub
Assistant Architect
Mohammad Rafiqul Hasnain
(Project Architect/ Principal Designer)

Client
Bangladesh Police
Ministry of Home Affairs

Funded by
JICA
(under Japan Debt Cancella�on Fund,
JDCF & Government of Bangladesh)

Execu�ve Agency & Construc�on

Public Works Department
Ministry of Housing & Public Works
Government of Bangladesh

Project Director
Estate & Development,
Police Headquarters
Bangladesh Police

60 DOT: SEPTEMBER 2015

DOT: SEPTEMBER 2015 61
DOT: SEPTEMBER 2015
 RESIDENCE

REMINISCENCE OF RIVER
Sagor Residence at Dhaka

The House ‘Rivers’ is a collec�on of memorabilia of its

residents. Riverine Bangladesh is sprawled with an
intricate network of rivers all over its vicinity. When
the river flows over her body it connects lives and at
the end of the journey it merges with the sea
surrendering its dynamics to the majesty of the sea.
This colloquial among River, Land and Life during its
passage inspired the architect to design this
Mul�-family Residence in an obs�nate city like Dhaka.
Hence the architect a�empted to assume a
connec�vity with the endless streams of river that
merges with the sea and the streams of daily life
merges to become part of a place that we call Home.

DOT: SEPTEMBER 2015 63

 LEVEL 01

LEVEL 02

LEVEL 03
The architect believes that one's living is the reflec�on of oneself and thus
along with his team, the architect, inves�gated to determine a way of
rela�ng the client's iden�ty behind the theme of the project. Thus they
iden�fied a connec�vity to the inspira�on that is directly inherent in the
name of the Client SAGOR is the Bangla synonym for SEA. To portray that
in an ethnic approach 100 names of flowing rivers of Bangladesh is
sculpted on different facades of the building. The names of the rivers on
the skin of the building became a part of its iden�ty. At the same �me it
has created a level of curiosity engages the onlookers and passersby with
LEVEL 04
the architecture without any physical intrusion to the client's personal
space. The aim is to harvest a nostalgia that would associate one to so
many known and unknown rivers that once crisscrossed this land.
Besides, the skin treatment also contributes to crea�ng a cultural
awareness. The design itself ensures a strong bondage among the family
members. This has been achieved by enhancing visual connec�vity among
individual spaces. Emphasis has been given in designing common spaces
with the objec�ve of encouraging common family �me and associa�ons.
Rooms of this private residence have been designed in a way that reflects
the strong �e among the family members. Connec�vity among them is LEVEL 05
ensured while keeping their own personal spaces private and
uninterrupted. A number of terraces are included in the design to create
a close to nature and vibrant environment for the client's daughters in
par�cular.

The project started as an exercise to find an answer to ‘what defines true

living?’ When the result follows the same monotony or doesn’t provide a
dis�nct answer; the search for a new explora�on that defines living
begins. That had been the journey the architect had adopted in designing
this residence.

64 DOT: SEPTEMBER 2015

DOT: SEPTEMBER 2015 65
 Enamul Karim NIRJHAR

An ac�ve architect and designer in Bangladesh

trying to break out of stereotypical concepts, a
crea�ve organizer trying to keep networks of
young crea�ve working together and a strong
Is a house a tool that works as a shelter furnishing the basic needs of a believer in the collabora�on of mul�ple
professions in order to create a more integrated
sustenance or a pavilion accommoda�ng people to come together and architectural philosophy with cultural
stay? diversi�es.

The importance of proper professional prac�ce

What makes it a home and not just a place for living? These were the in the field of architecture has always been the
ques�ons that was pondered upon before arriving to the design. A foremost priority for him causing his interest in
his complimentary interests such as Films, Song
significant �me was spent resolving the right propor�on of the living making, Literature, Photography and other
spaces, its geometry and rela�onship to neighbours. Visual arts etc. An inspira�on into reaching the
The Architect with his team is successful in his a�empt to propagate a depths of conceptual s�mula�on. In spite of
several achievements, his struggle to establish
sense of associa�on with our culture and riverine iden�ty through this his belief of a healthy collabora�ve professional
piece of architecture. hub remains a con�nuous process.

66 DOT: SEPTEMBER 2015

 though the manifesta�ons are atypical of surrealism;
rather Kali mostly opts for abstract juxtaposi�on of
forms and human body parts. Some�mes they become
deriva�ves of his own pain�ngs, defining the minute
details of his strong no�ons. Some�mes through his
pain�ngs he showed his mu�ny towards the
ill-prac�ces of society and poli�cs. In doing so his
artworks have some�mes been tagged as obscene to
some audiences and cri�cs but nothing could stop him
from expressing his inner feelings for a healthier
secular society. His expressions might have a
connec�on with his personal solitude but he never
remained disconnected with society or its
components.

Kali’s imagery obviously speaks about his subconscious

and non-ra�onal mindsets but never did he intend to
create a holis�c expression that one can define as an
exact surrealis�c approach. His audacious expressional
quali�es kept him apart from being singular to any
other all the way.

It has been evident that most ar�sts usually transform

themselves during their career in terms of their
thoughts or beliefs and also in expressing the same.
For last 40 years, Kali stayed a�uned to his thoughts
and beliefs and never even slightly deviated from it. It
is only possible for an ar�st, with such versa�lity, when

2008

1976
he possesses a true sense and philosophy of life.
Intense as he is in his beliefs, Kali persistently
experiments with the media without being shi�ed
from the hegemony of his inner soul that focuses on
the misdeeds of the society.

Being a Guru in drawing, he portrays his agony by

nailing his head through several of his works in his
early days. These imageries are perpetual, even when
not being placed in front of the eyes of the audience.
From his first solo to today, ‘nails’ play a pivotal and
symbolic role in ven�ng his inner anguishes. To date
the ar�st blends his masterly drawings with other
media to create a magical ambience within the
pain�ngs.

“Obviously his drawings are more than line

works. He has developed a style of his own in
this medium by adding decorative designs and
colour forms.”1

An enthusiast even in his 70s, Kali relentlessly pursues

experimenta�on with the media and remains totally
saturated in his works, making himself an esteemed
figure in the field of Bangladeshi art. His hunger for
experimenta�on compels him to use unorthodox
media, even from embedding amulets or food grain or
1985
even using the alluvial soil in his pain�ngs. He o�en

1982 1977

DOT: SEPTEMBER 2015 69

 2007

transcends the typical two dimensional aspects of bigger format pain�ngs with different mixed media.
pain�ng by adding such symbolic edifices and, in a Being born just a�er the Bengal famine of 1943, his
way, gives rise to a symbolism in his works. Kali literally childhood began in the se�ngs of suffering and
loves to place himself as the central figure in his works, des�tu�on, followed by his youth hood where he saw
showing that all these expressions are absolutely his the devasta�on of 1971. Passing the ini�al ages
own, excluding any other outside loyalty. Such a through such trauma, Kali’s early works echo the
no�on perhaps indicates that he believes each and nega�ve impacts of these contexts. In the course of
every human being, having emo�on-ego-intellect and �me, not being departed from his core thoughts and
finally humili�es, must react to the social misdeeds by philosophies, he incorporated the spiritual aspects of
themselves. His only responsibility is simply pondering the society along with the misdeeds in his works,
upon his audience. followed by the essences of nature.

Kali never forgets the nostalgic fragrance of the alluvial Kalidas’ journey started in Dhaka then to Kolkata in
soil and plays like a child whenever or wherever he 1960s; to Warsaw in the 1970s then to Paris in 1980s,
finds them. The alluvial soil of his origin, where he was and finished in Tokyo in the same decade. He took
born, even now haunts his naïve soul. His love for formal training in etching, woodblock prin�ng,
alluvium is perpetual and in his recent several solo papermaking, pain�ng, and sculpture. Kalidas’ art has
shows its presence is quite apparent and extensive. been exhibited all over the world in both solo and
group exhibi�ons. Despite being wrongly judged for
“Firmly rooted and committed to his home in being too ‘personalized’, he is considered one of the
Bangladesh and to the deep legacy of Bengali most talented ar�sts of the country, who never
culture, Kalidas travels the world and infuses compromises and fumbles on his convic�ons which he
those around him with his unbridled has once again proved through his recent mega show
enthusiasm, immense creative energy, uplifting in January 2015.
sense of humour, and natural goodness. He
1. Professor Nazrul Islam: Alluvial Image 2015
plants the seeds for art and international
2. Ralph Samuelson, Senior Advisor, Former Director, Asian Cultural
understanding wherever he goes, nurturing the Council, NY, USA: Alluvial Return 2015
garden of the human spirit along the way.”2

Being ini�ally trained locally and then vigorously

abroad, Kali is considered one of the very few talented Courtesy
graphic ar�sts of the country who could earn fame
globally. His prints are intricate in nature but s�ll
detonate his anger and agony. They are full of
numerous symbols which he rarely implements for his

70 DOT: SEPTEMBER 2015

2014

KALIDAS KARMAKAR
Born in Faridpur, Bangladesh
on 10 January, 1946
EDUCATION:
1969: Gradua�on in Fine Arts from Govt.
College of Fine Arts and Cra�s, Kolkata, India
1964: Pre-degree study in Fine Arts from
Ins�tute of Fine Arts, Dhaka University,
Bangladesh
SCHOLARSHIP/ FELLOWSHIP:
2008: French Government Grant for Stain-Glass
Art at Atelier Vitrain des Badelins, Paris, France
2006: Asian Cultural Council (ACC), NY
Fellowship Ar�st in Residence Programme, NY
at Point B Work Lodge Studio.
1997: ICCR, Government of India, Special
Scholarship for Research on Contemporary
Modern Sculpture, West Bengal Lalitkala
Academy Studio with Prof. C. Kar, Kolkata, India
1989: Nikho Ar�st Area, Alfa-Hills Fellowship as
a Resident Ar�st on research Japanese Washi
Paper Art at Alfa- Hill Studio, Japan
1987: Awarded Pres�gious Japan Founda�on
Long Term Fellowship on Japanese Wood-Block
Art at Tokyo Na�onal University of Fine Arts and
Music, Tokyo, Japan
1981: French Government Superior Scholarship
in Fine Arts, research on mul�colour etching at
world famous Atelier-17, with Prof. S. W. Hayter,
Paris, France
1977: Awarded Polish Government Scholarship
in Graphic Art at Warsaw Academy of Fine Art,
Warsaw University, Poland

2015
 Bangladesh University Of Engineering & Technology

DESIGNING A HIGHRISE BUILDING

Imran Hasan
Level-5, Term-2

74 DOT: SEPTEMBER 2015

 BRAC UNIVERSITY

SPIRIT OF THE INNOCENT

Museum Of Politics And Memorial For The Victims Of Political War

The concept was to represent this

freedom through this museum. Three
forms were taken with each repre-
senting past, present and future.
However, the future form was
depressed underground and repre-
sented as a hollow space as we do Rayeed Mohammad Yusuff
Level-5, Term-1
not know what the future holds. All
we can do is hope for a better future
and this museum represents exactly
that. The main objectives of the
museum was to provide the people
with freedom. As a result, the whole
museum building is accessible to the
public all the time. The visitors will be
able to move around the roof, lobby
spaces, restaurants, souvenir shop
and other spaces at all times. There
will be no restrictions for them to
access the museum even when the
museum galleries are closed down.

DOT: SEPTEMBER 2015 75

 Khulna University

CHITTAGONG TOURISM COMPLEX

Asadganj, Chittagong

SCHEME DEVELOPMENT
FORM ANALYSIS

Sheikh Rishad Ahmmad Aurnob

5th Year, 1st Term

Chi�agong. Largest port city of

bangladesh. The city with the most
percapita income, most na�onal
export and the least poverty and
unemployment. Chi�agong is
considered as the most livable city of
bangladesh due to its higher standard
of living. And also, it is the center of
the major tourism a�rac�ons of
bangladesh. The proposed asian
highway runs through bangladesh
connec�ng the northern and southern
parts of the con�nent and on its way
passes our site on the node just
before the new karnafuli bridge. Our
site in chi�agong is situated amidst
the commercial belt beside the
karnafuli river. The surrounding area
of khatunganj and asadganj is
considered as the old city of
chi�agong. The commercial ac�vity
here has been the most important
feature of the area, and the ‘chaktai
khal’ along with the ‘rajakhali khal’
has been the life of it. However, when
the construc�on of the asian highway
is completed, it will certainly add a
new dimension to the landuse pa�ern
of the area. -

78 DOT: SEPTEMBER 2015

PRIMARY ZONING

DOT: SEPTEMBER 2015 73

 Chittagong University of Engineering & Technology

Karnaphully Ghat

Homeland Ghat
Adom Ghat
MILL-FACTORY
RESIDENTIAL UNIT MAJOR RIVER GHAT
Evergreen Ghat GODOWN COMMERCIAL BUILDING
GARMENTS FACTORY GREEN SPACE
Yusuf Hajee Ghat

Anu Majhi Ghat-1 & 2

Jute Corp. Rally Ghat-2

URBAN PUBLIC SPACE DESIGN
AT MAJHIRGHAT
Reclaiming Chittagong’s Riverfront
Give Emphasis on
Concept Quick Loading-Unloading

Development

Sarah Binte Haque A Space to Interact

Level 4, Term 1
Design Studio VIII with Pedestrian

Mahdi Mahmudul Hoque

Level 4, Term 1
Design Studio VIII

River-Dock must Provide

Uninterrupted Dynamism

The Essence of the Past should

Mo�vate the Future of this Area
80 DOT: SEPTEMBER 2015
 Majhirghat is a huge commercial and semi-industrial
area situated along the Karnafully river bank.
Established during the Bri�sh colonial period, this area
has served as the import and export zone for
chi�agong via river. Besides its commercial values,
majhirghat has the most beau�ful riverfront in
chi�agong city, which is now a complete mess due to
the lack of proper urban design-planning &
maintenance. The old buildings bear the essence of
colonial-architectural characteris�cs of Bengal and
facades speak of the excep�onally rich & intricate
detailing. To generate the catalyst for a vibrant public
space at majhirghat, we must cut, create and reveal
public connec�ons and spaces from old strand road to
the riverfront. The design aims to a�ract spontaneous
usage of the site by juxtaposing adequate density of
commercial and public programs with an amazing
open public riverfront. By developing the whole
condi�on of this area, a link among the inhabitants of
that old town and new city will be established. This
research contributes to the promo�on of improving
the exis�ng deteriora�ng condi�on of Commercial
zones towards the enhancement of interconnec�on
among the people of the community to the city of old
Chi�agong, Bangladesh.

Provide Sanitary & Model

River-Dock must Provide Medical Facility
Provision of Food
Sufficient Mobility Court Facility

Clear Space
for Circula�on

DOT: SEPTEMBER 2015 81

Provision of Social Interconnec�on
Riverside Open Space
 INTERIOR

NATURE REDEFINED
Peda Ting Ting @ Dhaka

Anyone living in the city of Dhaka for the ‘Peda Ting Ting’ aims to transpose an idea of altera�on on the onset of
past ten years would somewhat agree to growing ‘restaurant culture’ of our genera�on where space and
the fact that our cosmopolitan lifestyle has
shrunken to a level where there is this surrounding dominantly ar�culate how we engage ourselves with the
overarching dominance of very few urban recrea�onal space amidst the hustle and bustle of the city. The
ac�vi�es that happens to regulate our name itself quirks inquisi�ve brows of anyone first �me knowing it, which
performa�ve behaviour regarding how we is a challenge for the designer in the sense that it demands an
func�on in the city. In retrospect, the
phenomenon of urban recrea�on offered
environment that translates the vernacular character of indigenous
by our city in the recent years has been so formalis�c styles in a typical urban block of Dhaka city.
much restricted that we barely can think of
alterna�ves when it comes to get out of The original restaurant si�ng on one of the hundreds of individual small
the house and spend an a�ernoon with islands at Kaptai Lake, Rangama�, is famous for its surroundings. The vast
friends or loved ones. In so doing, we end
up ‘ea�ng out’ and probably posing for untamed wilderness, lake, colorful indigenous groups (Chakma, Marma
some ‘selfies’ which of course makes its etc. ), indigenous museum and most importantly it's rich cultural vibrancy
way to Facebook immediately as a gesture adds an unique inclusive dimension to its character. Peda Ting Ting
of our prosaic engagement with our primarily serves Chakma delicacies which are cooked inside bamboo and
surrounding environment and subjuga�ng
our conscience to the exploita�ve
banana leaf in tradi�onal Chakma style. Peda Ting Ting Gallery Café Dhaka
pragma�sm of the cosmopolitan life. Li�le deems to recreate this humble confluence of natural and man-made
are we aware of the fact that such behavior features in a way that it retains the analogical similarity of physical
is a result of the repe��ve character of formalis�c and ideological character of the original place within its
where we go and what we see in our city to unavoidable urban context. This restaurant intends to deliver variety of
replenish our insa�able inner selves.
tradi�onal experiences not only through food but also through art and

DOT: SEPTEMBER 2015 83

 culture. For which the programma�c altera�on of a using the visual and tac�le quality of nature and
typical restaurant has been engineered to house art natural elements as a res�tu�on of the tradi�onal
gallery, handcra�ed display of the tradi�onal materials style therein.
of the indigenous groups and a bou�que corner of
Chakma Fashion. The conscious use of selec�ve Notwithstanding of all the limita�ons of the site, the
materials complements the immaterial abstract exis�ng trees shield the visual disturbance caused by
concep�on of the simplicity of tribal lifestyle where the immediate ac�ve pedestrian and vehicular
daily ac�vi�es in all its forms are indivisible with movement adjacent to the site and acts as a bio�c
nature. To show a glimpse of this prac�ce to the city ma�er in the process of the dissolu�on of required
dwellers, the café aims to refashion an exis�ng two level of privacy and the cacophony of the urban
storied residen�al building and retrofits the programs streets. Star�ng from the entrance to the façade of the

84 DOT: SEPTEMBER 2015

structure, it was the designer’s conscious a�empt to of things which are commonplace of everyday life. The
protect the micro ecosystem through the construc�on idea behind the wall is to imitate one of the most
process as well as accentua�ng it as much as possible important tradi�onal architectural prac�ces of
with the intelligent use of plants and locally available Bangladesh, ‘Adobe architecture’. To revive this
materials. tradi�on in a more provoca�vely contemporary
manner, this 18" thick wall was created measuring 20'
The intrinsic character of the rammed earth wall long and 12' high.
brings out a blatant display of the subsoil of the very
site, carefully dug out of its place and brought to The materials used here are mostly re-used and
viewer’s a�en�on as an emblema�c exhibit to pose re-cycled ones. Rangama� bamboos are used to hedge
the ques�on of how we fail to appreciate the splendor the first floor exterior walls. Produced in tradi�onal

DOT: SEPTEMBER 2015 85

 and energy efficient ways, the Saatkhira Clay Tiles have been used for the
open area floors. Almost 90% of the total woods used here are re-used
woods from packaging and export import industries. Many of the circular
dining tables were constructed with the abandoned electrical cable
holders. Most of the light fixtures are re-cycled materials like the scrap
materials, perforated metal cages; those are used to create a drama�c
ambience. The walls with reused bricks in the interior envisage the
evidence of old Dhaka; a 400 hundred year old city. The bricks used on
some specific interior walls are divided in linear sec�ons to replicate the
tradi�onal bricks which were a lot thinner than the present ones.

Albeit the usage of materials and all the technical details of the project
essen�ally reflect a pragma�c approach of construc�on techniques. The
landscape of the project rather is conducive to pique interests of ar�sts.
One can easily find a lot of trees o�en men�oned in Bengali poetry like
Krishnochura, Bokul, Hasnuhana, Gondhoraj etc. The idea of blurring the
defini�ve enclosure of a space through intelligent use of materials flowing
inside and outside of the structure, the orchestrated sequencing of indoor
and outdoor spaces forms an oscilla�ng character of designed spaces
where it’s rather difficult to tell whether you are inside or outside the built
form.

The overall spa�al character of the built and the un-built, the arts and
cra�s exhibited and finally the authen�c culinary styles as a whole creates
the stature of the project which aims to expand its field of concentra�on
to engage people more and more through innova�ve design ac�vi�es.

Sanjana Ahmed

86 DOT: SEPTEMBER 2015

Nazmul Nayeem is an architect
graduated from BRAC University and the
founder of studio MRITTIKA, he worked
for DOMUS architects BD from 2012-2014
and founded studio MRITTIKA to start his
own practice. The core value of this
studio is the poetic development of
spaces through simplistic expression
using vernacular approach in a
contemporary fashion to celebrate the
joy of blending tradition and modernity.

“
Design is not making beauty,
beauty emerges from
SELECTION,
AFFINITIES,
INTEGRATION,

”
LOVE

Louis I. Kahn

DOT: SEPTEMBER 2015 87

INTERIOR PRESENCE OF ABSENCE
Café Mango @ Dhaka

Cafe Mango is the ‘presence of absence’ in midst of

Dhaka and her complexi�es. Café Mango also stands
as an echo of desire in the midst of urban cacophonies.
Mango allows its user a place to pause and ponder. It
is somewhat surprising to find out that 15 years ago, a
culture that is known for its cultural habits, Addabaji
[Buddy talk], did not offer much of any public places to
her inhabitants to carryout such act with a li�le bit of
civility. There weren’t too many places that one could
go in with a book or a magazine to read and to enjoy a
good cup of coffee or tea along with it. Nor were there
places that one could meet a friend or bump into a
stranger and become friends over a drink. Presence of
such absent places gave rise to the idea of designing a
Café. The name “Mango” was chosen to further
support such idea. Mango, a juicy tropical fruit comes
a�er a long waited hot summer and it is the kind of
fruit that can be eaten at all stages of its life. Green,
ripe even ro�en and almost every one can afford to
eat a mango or two while it is out in the season. So,
one can say mango is a fruit of love and desire.

Ground Floor Plan Tool design

To help support the conceptual idea of the design, the
process of design became just as careful an endeavor.
The idea of etching on physical surfaces, collaging of
local materials are ways to understand the conflic�ng
issues of our today’s society and also through
transparency (literal and phenomenal) to magnify
banal yet unavoidable ma�ers of everyday living
became the driving force of the design process. To
understand the inherent principal of materials, each
element that is found on site or brought into the
project has been kept at its most original state. The
idea of cladded or painted surfaces has been strictly
controlled. All the metal [new and recycled] works that
helped support the project, are kept in their factory
finish quality. To prevent them from rus�ng, all metal
surfaces are treated with butcher’s wax, all pine
wooden surfaces are treated with clear water proofing
sealant, de-plastered brick walls are washed with
water and brushed clean

DOT: SEPTEMBER 2015 89

 To be�er understand each material and its inner understand and challenge the norm of physical
quality, selec�on of materials are kept to a minimum. distance in public arena. Social gathering is a theatrical
In the design, only four different materials have been act and to have a be�er understand this act, the main
used; Clear Glass Pane, M.S. Steel Plate, Brick and Pine windows that connect the cafe to the street, are
Wood. The propor�onate use of each material is propor�onate to various scaled television screen. The
tested in the drawings in collage form. To create a a�empted idea is that the onlookers can look into the
strong connec�on between various spaces of the cafe, cafe interior and feel as if they are watching an act on
the garden, the main sea�ng room, the roof terrace, television si�ng in their own living room. All the cups,
and the street, ver�cal and horizontal planes of wall plates, spoons and saucers that have been used in the
and floor surfaces are physically cut out. In doing so, kitchen are stripped of any graphics. It is the idea that
the idea of literal transparency is achieved to give any the food and the drinks will themselves is the only
user the privilege to be part of the rest of the cafe. The graphics. Finally, the logo, Café Mango, which acts as a
scale and the form of each sea�ng posi�on are tested signboard on the outer wall of the café, floats within
beyond the local conven�ons. Tables and benches are the lush local plants, as if a moon that floats behind
carefully arranged at various heights and shape to thin cloud.

90 DOT: SEPTEMBER 2015

Salauddin Ahmed, Founder and Principal at
Atelier Robin Architects in Dhaka, Bangladesh.
His works inquire the aspects of discovery
versus inven�on in the prac�ce of architecture
and its overlapping boundaries. Architecture as
a way to explore one’s own posi�on in the
society; he believes in breaking boundaries only
to find new possibili�es within the old. He
believes in the mul� disciplinary, which is a way
to be good in the prac�ce of architecture.
Thus, he is a part of a larger circle where society
lays its founda�on for future yet to come.

Salauddin Ahmed is the founder of Atelier

Robin Architects. He holds the Principal
Architect’s posi�on in the prac�ce and has been
a driving force in running a 12 person’s office
since 2001. He is also the founding member of
MongolBarer Shabha, a forum for architect in
Bangladesh and also the execu�ve member of
the Bengal Ins�tute of Architecture |
Landscapes | Se�lements. 2015. Besides his
full-�me prac�ce, he is involve with the local
universi�es and takes part in teaching as a
visi�ng faculty.

Photo: Asif Salman

DOT: SEPTEMBER 2015 91

SCULPTURE
 Towfiqur Rahman:
LIFE ART & PROCESS
Professor Lala Rukh Selim

Art is a con�nuous process for Towfiq. He has

consistently experimented with methods, materials
and processes and displayed the willingness to
challenge the accepted, and accept it if, what he
produces is not accepted. Experimen�ng with a variety
of materials for his sculptures, he gradually gravitated
to welded iron. He has relished the malleability of
metal which can be bent and pounded, and welding
which permits joining parts and pieces to create
endless varie�es of forms, textures and surfaces. He is
commi�ed to respect the intrinsic quali�es of the
materials he has worked with and a�empts to
integrate his material and form into a meaningful
whole.

Towfiqur Rahman was the seventh among ten children

born to his parents. He grew up in the Tejgaon
Industrial Area of Dhaka with occasional but thrilling
visits to his parental villages in Shariatpur. Dhaka was
beau�ful but also wracked with poli�cal turmoil and
violence. As a child he witnessed the struggle for the
birth of a na�on. The Libera�on War haunted and
permanently scarred Towfiq's family like many others.
His excep�onally gi�ed second brother Aminur
Rahman, a student of engineering, was tragically killed
by collaborators in Rajshahi on 12 December 1971.

The Sculpture Department of the Ins�tute of Fine Art

(the present Faculty of Fine Art), Dhaka University was
a fi�ng place for Towfiq’s development. His teachers,
Professor Abdur Razzaque & Professor Hamiduzzaman
Khan were both well travelled and had firsthand
experience of the diversity of expression in art. They
understood that art educa�on was a sensi�ve issue,
and tried to combine skills training with
experimenta�on and research. The Sculpture
Department was founded in 1963, years a�er the
founding of the art ins�tute in 1948. Unlike most of
the other departments of the ins�tu�on, it was much
less overshadowed by the Kolkata art school as none
of the teachers had studied there and it developed its
dis�nct character as a hub for research and
experimenta�on. Also the medium of sculpture itself
with its versa�lity, its vast array of materials, and
capacity to exist in space, was very conducive to
Towfiq’s development. The lack of sustained
contemporary ac�vity in the field made it free from
‘tradi�on’ and allowed room for growth.

DOT: SEPTEMBER 2015 93

 Towfiq’s subject has embraced the everyday and the
ordinary. Men, women, animals, vegeta�on and
implements of daily use are encountered in his work.
It becomes an extraordinary conglomera�on of
observa�on from life and art, animated by his wit,
enriched by his unique perspec�ve. Towfiq has also
had the opportunity to experience a wide variety of
art. Observing the u�litarian art making in urban and
rural pockets of Bangladesh, historical art and
archaeological sites, Indian and Chinese art, museums
in Europe and USA featuring the old and the new in
the art world added depth and dimension to his
understanding.

His last solo exhibi�on in 2013 presented welded iron

sculptures which displayed his superb control of
welding. Metal bars, angles, sheets, even iron pots
were transformed. His obsession with twisted and
melted metal has a rather sinister connec�on. Towfiq
remembers the sight and smell of a bent and twisted
mortar shell that his brother Amin brought home in
1965, during the India Pakistan war. The furrows,
ridges, holes and molten bumps on Towfiq’s sculptures
capture a similar evidence of heat and violence.

Towfiq’s enjoyment of experimenta�on is not limited

to sculpture. It is evident in his pain�ngs, drawings and
prints. His drawings are characterized by bold, forceful
Towfiq took full advantage of his student years to try but sensi�ve lines. He even devised his own process
and understand the language and grammar of for printmaking using welded iron plates. He has
sculpture. His enjoyment of making, of researching developed video and anima�on using digital media as
methods, materials and techniques, found the perfect well as working on installa�on projects. He is ready to
place for growth. Professor Hamiduzzaman work in any form of visual media that will serve his
encouraged his inquisi�veness and individuality, purpose.
allowing him to tread his own path. Following his BFA,
Towfiq studied for his MFA in Beijing, China where he In the recent past he has taken to roaming the less
was exposed to a very systema�c approach to working glamorous parts of Dhaka. Working in a li�le workshop
naturalis�cally from live models. This is how the near his friends saw mill in Begunbari, he began to use
journey began for Towfiq. his camera to capture the art that grows out of the

94 DOT: SEPTEMBER 2015

Towfiqur Rahman

Born
1959, Bangladesh

Education
1976-1981, BFA, Sculpture, Institute of Fine Art,
University of Dhaka, Bangladesh

1983-1985, MFA, Sculpture, Central Academy

of Fine Art, Beijing, China

ceaseless ac�vity of human existence. This obsession made him ponder

the connec�on between life and art. An exhibi�on in a gallery seemed
separated from life and the people who were his subjects. This led him to
curate a very short term group show en�tled ‘Begunbari: Life, Art,
Process’ in 2012 in his friend’s saw mill. ‘Life, art, process’ is based on the
concept that art is part of the process of everyday life. It is an a�empt to
confront ‘art’ with the art that grows from the process of human
existence. It integrates the materials and atmosphere of a given space in
a temporary transforma�on through the interven�on of ar�sts crea�ng a
new reading of daily life. It aims to discover the extraordinary that exists
in the ordinary.

The local community and art connoisseurs were invited to the event. This
was perhaps a statement against the eli�sm of the art world, dominated
by market concerns. This was followed by another short solo installa�on
show (a few hours) in a friend’s restaurant in Karwan Bazaar adjoining the
media neighborhood and the largest wholesale market of Dhaka en�tled
‘Karwan Bazaar: Life, Art, Process’.

Standing on the fringe of the art world, Towfiq is brimming with ideas for
new projects, always on the lookout for a new way to connect his art and
the flow of teeming life and energy that surges through the waves of
people that flood the jungle that is Dhaka, Towfiq’s city.

DOT: SEPTEMBER 2015 95