re READING THE PALIMPSE! - as men Evalgatize: EON ores} royal paall orto) alo 9 [osu Wee anes BRT el; od ee | = Quar a = = ry ree = AMS Wea} Se erence ee | i = : ia ST Tate, Eat la xe [lm Aero Ufo —Z an E HILL RESORT ad B > 1 pe ae ag a Cs Pease ye * >APEX ULTIMA WEATHER PROOF EXTERIOR EMULSION Asian Paints APEX ULTIMA, the most advanced exterior emulsion that you can gift your dream home COLOUR STAY™ ‘Apex Ultima comes with revolutionary Colour Stay Technology that has special additives which prevent the paint film from tarnishing. It also contains UV resistant colour pigments to ensure cleaner and brighter shades. ANTI-ALGAL BIO PACK Ultima’s advanced anti-algal bio pack prevents the formation of alga black spots away. nd keeps ugly 7 YEAR PERFORMANCE WARRANTY Untima introduces the first ofits kind 7 year performance warranty that covers product Performance against fading, flaking, peeling and 5 year performance warranty against algal growth and fungal growth as well. «the waranty is appliable under companys supervision of he exterior surface tbe pained DIRT PICK UP RESISTANCE ‘Apex Ultima is designed with a unique Dirt Pick Up Resistance (DPUR) property It fights dust from settling on the wall surface and thereby retains the intial beauty. ce asianpaintsA. design is possible until the materials with which you design are completely understood y PROUD ONSTRUCTION PARTNER OF PADMA BRIDGEEditorial Panel ‘Mustasim M Khan Shahzia Islam Anton Rezaur Rahman MA Kayesh Tanim Editor ‘Mustapha Khalid Palash Editorial Assistants Asif Salman Khan Noirit Mustapha Coordinator Tahsin Reza Ualson Sadia Bony ‘Commercial Operation Zabedur Rahman ‘Niarnul Anam Shobuj Circulation Shahinur Rahman, Covers Amber Handloom shed Quarterly DOT 1a journal on a and actos of Bangladesh Bl vbtsned by DELMISTAA Foundation, Bangadesh Pred ath Grape Camps, Deka fi TAKA 200.00 ee Shahzia Islam Anton ried oe a Etre eeciaeenys piceeatn eres re error: Remsen rose) Beceem netaEDITOR’s note Symbolism, as envisaged by man out of what they register by seeing and experiencing from nature, has been prevalent since humanity enrolled themselves in crafting edifices as means of communication. Being a strong medium of ‘communication and power, symbolism in architecture ruled with a strong hold till the inception of Modernism in the ‘early previous century; this means, till that period, people lived not by the things they used to see or the spaces they lived in, but by the meaning that they deduced out of such creations, It is true that such symbolism, in different cultures and/or religious beliefs, was sensibly associated to derive the visuals and forms particularly in the case of architecture, On the contrary, Modernism washed out such notions in architecture by eliminating any ‘symbolic significance’; those were not intended out of necessity and advocated for more of an international style without having ‘any strings attached to the specific culture. The twentieth century has witnessed the advent of many ideologies that professed to solve all social and economic problems through architectural solutions. The tendency towards too much ‘standardization’ by Modernism compelled the inception of Post-Modernism that tried to attach the symbolism in a different way. However, in our country for last five decades, architects have been striving to generate a trend more specific to our soil and culture in concurrence with the Modern style, Defying ‘Symbolism’ in any given time and culture is a critical and debatable issue. If the architects judiciously ‘want to avoid such interpretation of the things that they see and experience from nature, then they need a deeper Insight of the ‘Symbolism’ during their education in architecture, It is true that such deep philosophical inputs are difficult to understand for the students but the truest is that without such understanding there are possibilities of rmisinterpretation of ‘Symbolism’ in architecture. AS a ‘matter of fact this issue of ‘symbolism in architecture’ is raised here to point fingers at the architects who are knowingly or unknowingly obliterating our architectural style that we have earned through a long-struggled practice in the country. When the symbolism in architecture is being sensed wrongly and the symbols are being transformed in their exact forms as a direct representation of those particular objects into built forms, then it threatens the hard-earned architectural trends, Unfortunately in many cases such tenacities are being imposed by the state level initiative (e.g. Cox's Bazar International Airport and Cox's Bazar Railway Station). If such practice continues then there is a chance that the decision-makers and the commoners may naively fallin love with such so called symbolic architecture. Surely such practice shall have an impact in mutating the established style. Further it would give a wrong message and would diminish the dignity of the nation to the outer world where our architecture has already earned a respectable position. Therefore, the emphasis should be put by all architecture schools of the country on such education where the future architects should learn the right way of designing architecture that would speak of the time and the society. In this issue QR codes have been included with couple of articles for those who are interested in watching the available videos of the projects made by third parties. The DOT Team has a future plan to produce short documentaries of the included projects and linking them via AR codes. ‘Ar. Mustapha Khalid PALASH Editor Fallow IAB Int Assoc. AIA ‘Member, Tl Building Coun [CTBUM] 1 seerewocr 20%9|03High-rise elevators Your project with our expertise. Together we bring your landmark to the top. C: CREATIVE ENGINEERS LTD. A a jin Court (1st Floc ir Uttar rahi sarah Creu 6288 ae! CA) Ota : Sracontent Uttar Halisahar Mosque South Breeze Centre Restoration Project En ur Rauf Mosque ver Story Rayerbazar Baddhabhumi + Project Sairu Hill Resort 2c Project J: Reading the Palimpsest: Architect Bashirul Haq Residence ‘Quest Srospecive The Circle PHOTOGRAPHY Project \Student DESIGN competetion A Soul Searching Soul Painting Creating a True Home (QO) Saved Tareq Rahman Interior J Sculpture@HermanMiller Aeron Chairs RIVATE LIMITED 25.38 (8802) 88 11921 (3802) 88 25019J i hee | EI > | See 2 =I Chittagong by Ar. Abu Sayeed M, Ahmed, PhDOn approaching from Agrabad commercial area via old Boro-Pul towards West after reaching Chowdhury Para at Uttar Halishahar — visitor's eye get transfixed on a brick coloured Mughal Mosque, totally in contrast to the surrounding greeneries. Locally known as the Mosque of Chowdhury Bari - it was built in 1795 AD according to an inscription placed in the frontal side of the mosque. So far, this mosque was extended and renovated in several phases. The original plan was a typical three domed mosque measuring 21 feet 9 inches by 13 feet 9 inches internally, containing all typical late Mughal features. The original rectangular prayer chamber is entered by one central entrance and the Qibbla wall has a central Mihrab corresponding tothe main entrance. The central dome is much bigger and higher than the flanking smaller ones. The original surface of the mosque was decorated in panels by Lime-Surki plaster work; the Northern and Southern walls from outside bear the evidence of the simplicity of the typical Mughal ornamentations. In 1965 a frontal RCC verandah was added to accommodate more devotees and the whole surface was re-plastered with cement mortar. All openings are supported by octagonal pillars, which ended in a pinnacle shooting above the parapet. Zigzag shaped ‘ornamentation in lime-surki plaster enhances the aesthetic quality of this edifice. The octagonal corner turrets, one at each comer of the prayer hall, are carried high above the horizontal parapets and terminate with a blind kiosk surmounted by small cupolas with amla kalasa finials.All the domes rest directly on the octagonal shoulder decorated with basal leaf ornamentation and are crowned with beautiful tall lotus and kalasa finials. Finial on the central dome is of metallic origin and all other finials are made of terracotta pottery reinforced by iron spikes. Projected band of cornice without typical Mughal bracket run below the straight battlement all around the mosque. The pinnacles, blind kiosk and the different sizes of domes break the monotony of the skyline. @Total Solutions,for, DN uaF Elevators & Escalators AHYUNDAI ELEVATOR CO., LTD. EXCLUSIVE DISTRIBUTOR IN BANGLADESH Edgeworks Ltd. Dhaka Office: House 37, Road 6, Block C, Banani, Dhaka 1213,Bangladesh . Te: +88 02 9820881, 9820882, 9821781 ‘Chitagong Ofce:Karnafully Tower (4th Floor Fat-C) 63 SS Khaled Road Kazir Dewi, Chittagong, Bangladesh. Cell +8801713 200212PROJECT SOUTH BREEZE CENTRE South Breeze Centre is a fourteen storied commercial building located in Ce tee Pee cur meee Fe Re aR au ee dd result of a government decision to allow such uses. South Breeze Housing Ltd., one of the leading real estate developers of Bangladesh was the client and has its offices in the top floors of the building, for a > Roe) irre CORT My le oop GREER ee sea F ee 2 anPROIECT TEAM: Principal architects: ‘Mamnoon Murshed Chowdhury Mahrmucul Anwar Riyead Assistant Architects: ‘Shihab Amin Mustafa ‘Shall Tasneem Kauser Constants ‘Achtectue: DW ARCHITECTS Structure: Enginering Solution & ideas Electrical PLAMEX ‘Mechanical :Uxlty Professionals Plumbing: Milon Nondl Lighting: AdexlightingRoad 11 has been going through a frenzied phase of building construction. Commercial use in the relatively smaller sized plots generated two extremely powerful forces that impacted the architectural decisions - optimization of usable space at the most expensive Ground Level and maximization of car parking spaces. The basic layout, therefore, is a simple rectangle consisting of two distinct ‘Served’ and ‘Service’ parts. The core consisting of three elevators and two staircases blocks the entire West side, thereby eliminating huge amount of solar heat gain. The commercial space is a clean, regular rectangle, wrapped in double glazed facade. (GROUND FLOORPLAN, - TYPICAL FLOORPLAN FIRST FLOORPLANGoa ant CMa Deke ce eee ta acer plan. In another allusion to the great Louis, Sullivan, Rie ae eae) ar Chee eur eee a Perea cee aaa eee) PRO ees us ua mass is made lightithrough introduction of concrete vertical louvers-placed alternately. The mass is:set cee cee a ae) driveway, but, attempts to appear_as forecourt that Brees eu ee eens ce tS ‘water features are introduced to enhanee this idea. Sots) ere ees oes ST aie seed POM ARC na si a) Ere Reese Da oeBathroom Standards. Redefined. Amtrican Standard Perfecting Bathroom Experiences since 1872 KOCHENTECHNIK trade TI i luti Ltd. HOME OF rade Design Solutions Ltd 21G/A Tejgaon Industrial Area, Bhora os" Srgoseeh EXCLUSIVE hone: +80 20180, ato 2 aes EUROPEAN TILES tne st-taccosen om tretscse Fax +88028813340PROJECT Bangladesh was liberated on the 16th of December 1971. It could have been a moment of blissfulness and glorious joy, filled with roars of freedom. But it was not. The country stood still in a trauma when it was found that the occupied Pakistani forces, in collaboration with their local associates, brutally slaughtered the country's leading intellectuals from all faculties of life on the 14th of December, apprehending their inauspicious fate. Itis believed that the barbarians wanted to destroy the backbone of, the just born nation which would have a never ending effect on its culture, ‘economy, education, art, architecture and where not! No language has the ability to illustrate this heinous act; neither any canvas can portray the scene of the crime contemplated on that day. The War Memorial Architecture has a definite function to convey message from one period to an endless journey through the dimension of time. The ultimate achievement of a war memorial greatly depends on how carefully it dealt with the topic multi-dimensionally, aesthetically and above all architecturally, to harmonize its history, culture, values, belief, ‘emotion, glory, triumph, pains and sorrows that travels across the time - the past, present and future.PROJECT ABSTRACT Project: Rayerbazar Baddhabhumi ASlaughtering Place Memorial Location : Rayerbazar, Mohammadbur, Dhaka, Bangladesh. Client: Public Works Department & Department of Architecture, Ministry of Housing & Public Works, Govt. of Bangladesh Site Area : 14,216.00 sq.m, Built up area : 9950.00 sq.m. Commencement: 1996 Completion: 1999 PROJECT TEAM Architect: Farid Uddin Ahmed & ‘Md Jami-Al-Shafi ae 4 Consultant: Design Centre Structure: Public Works Department Electro Mechanical: ERM Division, Public Work Department A one meter thick brick wall emerges from the earth at one end, raised Tee ee ct cee ce sixteen meters in a regular curve. Once again it merges on the earth, Or Ce Suc et ate fa its nation through their supreme sacrifice during the crisis. The wall looks intentionally destroyed to symbolize the degree of the brutality, cruelty, mass-murder and massacre that occurred here in particular and Peace oa rn eS stable water body in front of the wall not only increases the height of Ce ee a een ne Re oe history into its depth. The massive black mourning pillar comes out of Cee Reece eau en es of reach, although their intangible existence cannot be obscured. The Pee Renee ec feet ee eee eames cae! Cera ie ecThe three and half acre abandoned brick field used as a killing ground by the murderer, raised up to three meter from the existing road level, creates a horizontal plane with grids arranged formally and intentionally deconstructed. This level-change works as a podium and natural buffer from the noisy highway. Once again, the rearranged walkways and green beds create an informal amphi-arena to transmit the mournful roar from generation to generation. The sky, the wind, the trees, the grass, the water, the sunlight -all the natural elements blended together with the huge ordinary brick masonry, individually and collectively creating a fusion of painful resonance. To conclude one must give a keen look towards the scale that was achieved by the Rayer Bazar Slaughtering Place Memorial. It is a wishful combination of human and monumental scale that can be felt differently from the different positions of the memorial as well as at different times of the day. It is not, but the shades and shadows, lights and darkness, sounds and silence created within itself might give someone the feelings of the existence of the non-existing souls that shall inspire the millions of the nation. From dawn to dusk people of all ages gather here to salute their national heroes for their supreme sacrifice for the independence of their motherland. The rectangular project site is connected to the approaching highway with its longer side. Shallow depth to get a processional sequence of approach towards the monument from the front road was posing a constraint. Entry and exit are located on the left and right end respectively of the front line, so one can get a long sequence of pathway leading to the centre point of the altar plaza. ‘The total plaza is elevated gradually along the entry approach and sharply retained by brick wall along the front highway which really cut the traffic noise.. The main monumental curvilinear wall is built, broken deliberately which truly symbolizes the pain and sorrow suffered by the nation during war of liberation. This war memorial project represents the melancholic memories of brutal mass killing of Innocent people of the country by the occupied Pakistani armed forces and their collaborators. To mourn the death of brave sons of this soll this complex is designed with simple, awe-inspiring and monumental form and is located at western edge of the city, where the skyline of the city merged with the horizon. Culturally people of this country are more friendly and emotional in nature. Open court in the traditional house form is the cultural space where community people gather.22 The monumental and deconstructed wall emerging out of the ground gives enclosure to the plaza in front where people from all walks of life gather to share the agony of supreme sacrifice. Green vegetation, water body, open flowing air, dawn to dusk light etc. are major natural elements which are deliberately taken together in the architectural composition of this project to create an environment that can modulate within the order of " Mother Nature. Alongside PTONAERL HSSAN indigenous mud kiln burnt brick is used all over the areas of this project, which also retain the legacy of mud and pottery art that were prevalent in the society of the project locality. ‘There are public toilet facilities at the south east comer of the site. One maintenance office for care taker, Pump House, Deep Tube Well, Guards Retiring Room with Toilet and Kitchen at the North-East corner. Car park area is at the east side and capacity is 100. The entry and exit is separately located and easy pedestrian circulation system also provided. The Palash, Shimul and Krishnachura all these dense foliage trees are carefully selected to give only red flowers as a symbol of blood. ‘Banyan tree’ - known for its very existence in all social, cultural and spiritual activities in this region, is planted to commemorate the old one which still standing firmly nearby as a living witness of the brutality, shall grow up with time prolonging its branches horizontally providing shelter to the coming generation with its sculptural look and monumentalitPORCELANOSA KITCHENS VISIT THE NEW SHOWROOM THE MOST EXCLUSIVE TILES, KITCHENS, BATHROOM SOLUTIONS PORCELANOSA NB Tower (Level 3 and 4), 40/7 North Avenue Gulshan 2, ACO) a _ Secaleus Tel: 01793567404, 01797101765 LUT rT 12 ce [Link]After a dificult ife and the loss of her husband and near relatives, the client donated a part of her land for a mosque to be built. A Ce aa cs Brand-daughter, an architect, acted on her behalf as fundralser, Ce eee ta ieee eu ny an increasingly dense neighbourhood of Dhaka, the Mosque was falsed on a plinth on a ste axis creating a 13-degree angle with the Gibla direction, which called for innovation in the layout. A OT ct ie eee ce Cree oni eet er ree Be ee ert ee ae Jocated inspaces created by the outer square and the cylinder. The plinth remains vibrant throughout the day with children playing and elderly men chatting and waiting forthe call to prayer. Funded pire) epee ieee et oars ets ee eee eee Ventilated and cool. Natural ight brought in through a skylight is pee ae eer eetyA Refuge for Spirituality Bait ur Rauf Mosque Q essiiation and the play of light make this neighbourhood mosque a refuge for spirituality. J = AKA Bait ur Rouf Mosque is located in the northern expansion of Dhaka, a fast growing community of lower middle income families. 7200sft of area donated for the mosque is flanked by roads on west and south. ‘The site axis creates a 13 degree angle with the axis of gibla which called for an innovation in the layout. Three volumes were introduced, one inserted within the other to create sequence of spaces. The outer most volume is a 75'x75’ square of 25 height that is situated parallel to the road creates the main facade of the mosque. A cylindrical volume is then inserted into it that facilitates the rotation of the prayer hall simultaneously formulating light courts on four sides. All ancillary functions such as the entrance courts, ablution and toilet facilities, Imam’s office and stair are located within the space created by the outer square and cylindrical volume, This part of the design is conceived as load bearing brick construction; whereas, the prayer hall is in concrete. The main prayer hall is a column free space, 50’x50’ in square and 35’ in height. Bait ur Rouf mosque celebrates local tradition ofPi cseniiaaalwi i ee 1 s ay i G : 4 5 rm H i. ‘| ei "| er wa | Bry {ae BB =) i en 7 Auer i ee | Ce (| Hee Cen en © ROUND FLOOR PLAN construction, material and craftsmanship of brick. Funded by the local See RUS eer seca ea towards a better living environment in one of the fastest growing cities in the [Link] initial idea was to search for the essence of Islam devoid of ritualistic and symbolic attributes - To question conventional typology; to Foe ee ae Doe CS Rc Muslims, gathered in brotherhood facing qibla in submission to one God, Omni present. It is a clearly defined space directed towards Ka’ba. Light, PERU eee ee rae ae nue that is the prayer hall is contemplative in nature is evenly lit to enhance CO ee eau Re Cte ae es PROJECT ABSTRACT: Dee a Td Location: Faldabad, Dhaka Cet ey Pee DOL ae Dee CE ced CELT Coen Do Chey eS os Ded Ce oe id Pen eGRr pom | Al mee a a oe ar rast rtcor vin Bait ur Rouf Mosque is an attempt to trace the lost glory of mosque architecture of Bengal that begin the advent of Islam during the Sultanate period. Thus the use of local material and craftsmanship of handmade architecture is celebrated through the making of the mosque.To be in communion with God requires a space that must span the distance between earth and beyond, between here and infinity between today and eternity. And it did so marvelously well in the domed structures of Istanbul that spread so successfully all over the Turkish Empire and far beyond and in the arched colonnade mosques of Maghreb and Andalusia, with the Great mosque of Cordoba, with its miracle of repetitive, almost infinite space. In Bengal, a glorious legacy of Mosque architecture began with the advent of Islam in the thirteenth century. The mosques were not influenced by foreign style but combined and adapted elements found in local tradition. Built in brick with several small domes to span the roof, these mosques essentially embody a style that is unique of Bengal. The Choto Shona Mosque of Rajshahi, Shat Gombuj Mosque of Bagerhat are great examples of Bengali style. +r, ror ever run ©, or pecewacn 2ote|29In contemporary times in architecture the very personal approach to design, the overwhelming attitude to speak one’s own language, denies these roots and basis that has formed and stabilized public response to what is conceived as a mosque a priority, ‘the continuity that loves and recalls the old to ‘embody it in something new is ignored’ or has passed away. In an increasingly dense neighbourhood of Dhaka, the Mosque was raised on a plinth on assite axis creating a 13-degree angle with the qibla direction, Which called for innovation in the layout. A cylindrical volume was inserted into a square, facilitating a rotation of the prayer hall, and forming light courts on four sides. The hall is a space raised on eight peripheral columns. Ancillary functions are located in spaces created by the outer square and the cylinder. The plinth remains vibrant throughout the day with children playing and elderly men chatting and waiting for the call to prayer. Funded and used by locals, and inspired by Sultanate mosque architecture, it breathes through porous brick walls, keeping the prayer hall ventilated and cool. Natural light brought in through a skylight is ample for the daytime. [Link] brick load bearing masonry and conceptual layout of Bait ur Rouf Mosque ~ cee) ~ a Be.02. Intricate terracotta works and Jaali (Screen) porosity ensures ventilation and controlled light. Load bearing brick wall of Bait ur Rouf Mosque conceived as screen also creates the main facade of the mosque- breathing wall for hot humid climate. 03, Materials used are very basic and raw due to low budget. Brick, as load bearing walls form the outer envelope of the mosque housing the entrance, ablution ete; the prayer hall is a pavilion in concrete wrapped around with brick facade. The porosity created by the laying of brick allows natural ventilation into the space as well as ornate the facade giving SECTION BB! essence of the rich legacy of mosque architecture in Bengal with a contemporary expression. ‘The floor of the prayer hall is finished with terrazzo of white stone dust, creating a contrast with the unadorned rough surfaces of raw construction. Day light is abundant in subtopic and a major design element in the mosque. The rapidly urbanizing location of the project site demanded an internalized planning that also enhances the use of light as a spiritual element. Light ornate the prayer hall crafted through the ceiling, Tete Ahad sdddaaaaass aiadabiad ad 3 . 7? = cs . a Fs ©WE CARE BANGLADESH THAI ALUMINIUM LTD. AMRTTRE NET or stra Went er Mela RRM oe eee Emu nee Eats PereraLod SD master Pian PROJECT ABSTRACT PROJECT: Salru Hil Resorts Limited LOCATION : Baro Mile, ¥ Junction ‘Chimbuk Road, Bandarban Chittagong, Bangladesh CLIENT — :Salru Hill Resorts Limited SITE AREA: 12 Acre (48562.28 sq.m) ‘COMMENCEMENT: 2010 COMPLETION: 2016 PROJECT TEAM [ARCHITECTURAL CONSULTANT Domus Acchitect “Mustafa Ameen Kazi Meftahul Arefin ‘Mustaque Quadry Ma, Kaisar Hossain ‘adnan Ferdous Haque Risal Ahmed Nazmul Nayeer Sadia Afrose Shimu ‘Adiba Zahir Rahman Ralyan Samiul Haque Asif imteaz Mahmud Hossain ‘STRUCTURAL ENGINEER Ma, Babul Miah 36 oo: occ=MBeR 018Sairu is located 18 KM away from Bandarban Town, on the hill slopes at the Y-junction of the road from Bandarban to Chimbuk. It takes approximately 40-45 minutes by road, driving through the scenic hilly terrain that ascends and descends along the curves of the hills, to reach the spot. The 12-acre site of Sairu has a 3602 panoramic view with low drifting clouds from March to September thus creating an ambience of cohabitation with the clouds. One can touch and feel the clouds, experience an awesome feeling of being caressed by the warm & cold mist, Sairu Resort ‘overlooks the Shangu River, the Bay of Bengal and the hilly range along the Myanmar border, On a clear ee sunny day, the Bay of Bengal is visible on the horizon which is just about 40 km crow-flight-distance away. Designed and executed by DOMUS, the concept was to design a contemporary resort following the ‘Less is More’ principle. The masterplan was conceived by being sensitive towards the site and surroundings. Most of the structures have been built on steel stilts to minimize any change in the natural contours. The existing trees have been left untouched and more plants were added when shaping the landscape of the resort. The spaces were designed to obtain maximum Panoramic views taking full advantage of theSai ——_| topography while including the luxuries of a modern-day-resort. Local materials were used to achieve the rustic-look which blends with nature. Mr. Ranglai Mro, a headman from the Mro Tribe is the ‘owner of this beautiful land. He approached certain individuals with the idea of utilizing this land for a viable project with his partnership. Being interested, these individuals visited the site to explore the potentials and possibilities and fell for it. Thus the idea of Sairu Resort was conceived. One of the partners of Sairu Resort, Mr. Mustafa Ameen the Principal Architect and Proprietor of DOMUS, initiated the concept design and execution of the project that would promote tourism along with the Culture & Crafts of the local people thus contributing to the ‘economic emancipation of the community. The aim of the project was to put Bandarban on the map for the whole world to take notice, promoting the culture of the local tribes of Bandarban and thus encourage the possibility of generating employment for them. The tourism industry has been growing since the last decade. Tourists from abroad are also vising Bangladesh to see its natural beauty. As a result, a lot of resorts are being constructed in parts of Cox’s Bazaar, Sylhet, Chittagong areas but unfortunately good resorts or hotels are scarce in Bandarban and it isfalling behind in the tourism sector being so potential. Designing the resort has been a mammoth task. The topography of the site itself made construction merely impossible, but after tedious site surveys, analyzing the soil condition, understanding the wind flow patterns the design and implementation process began through a trial and error process. Even so, addressing Bandarban’s climate and weather was a ightmare. The site experienced rainfall quite frequently and during the monsoon season it rained more than three weeks contineously making the construction even more difficult. In order to keep the contours intact, the building blocks are placed on stilts to protect from heavy rainfall, roof-overhangs were introduced to have protection from rain and sun. The projects fitted with Rain Water Harvesting facility were harvested water is reused. The aid of gravity was taken when designing the plumbing system of the resort by following the hill slopes. There was concern that construction could damage the pristine beauty of the nature unless it blends with the topography intact. Sairu was constructed, to the delight of the partners with utmost sensitivity excepting the driveway which had to be scrapped and curved out of the hill Cee)‘Water was sourced from a spring almost 1200 feet below the site. Locally available materials like wood, bamboo, traditional fabrics etc. have been used for the project. Floors are finished with neat cement in order to avoid commercial tiles. Efforts were given to reduce the use of commercial products as much as possible and focus was made on using local resources and hand crafted materials. Nature has been enriched in many folds; new plants ‘were added to recuperate the greens which were lost or damaged during the course of construction and becoming a major threat to the ecosystem. The fruits of which could be experienced when spring came by bringing birds and butterflies to our site along with the bees that came to gather honey from the freshly blossomed flowers. ‘A lot of research and painful exercises were undertaken by the team to achieve the perfect building placement, harmony with nature and orientation which not only ensured maximum views but also achieved natural ventilation. Large balconies ‘were designed to reduce the heat from the west and green roofs were added to keep the flow of air into the rooms cool. Here at Sairu Hill Resort principles of fair trade was followed which acts as the vehicle to support and respect workers’ rights and assures a business that maintains strict labour, environmental and development standards. Emphasis has been given on ‘Company Management & Human Resource’ and “Workplace Practices’ to ensure fair wages, health and safety for workers avoiding child labour. Community Practice Fair share of local recruitment, procurement of essentials from local area mark the key of contributing the local community. Cultural Heritage Focus has been made to respect local culture minimizing negative impacts and maximizing benefits of the Project. Environment Consumption of local resources, disposal of wastes and protection of bio-diversity were consiered. "Natural landscape and heritage of the area have been conserved and protected with great commitment. Utmost time and efforts have been given in setting up the Resort by integrating the natural contours and existing vegetations into the contemporary architecture that blends well with the surroundings. Functional design of lighting and ventilation reduce artificial energy usage. or pecewacn 2ore|44Solar Power is used as much as possible along with other energy sources. Some other ‘green’ features of the Resort are as follows: * Rain Water collection and Gray Water recycling, * Composting * Food prepared from organically grown herbs & vegetables grown on site and procured by locals. + Landscaping with local plants and edible herbs. * Environmental education programs for local schools. As part of social responsibility, apart from creating a mere leisure spot, the resort offers exploring the nature and its contents, The locals are included in creating the Resort in the form of labourers, gardeners, artisans and tour guides. Sairu pledges to promote local culture, arts and crafts by organizing weekly cultural programs performed by local artistes and a opening an outlet kiosk Crafts of local handicrafts thus providing the visitors with authentic cultural experience. Since the tribals are relatively poor and backward in contrary to the rest of the population of the country, Sairu_ maximizes local employment for providing service to guests and maintenance of the area thus 42 |oor occennen 018upgrades the living standards of their families. Visitors ECM cy ReMi Mame CCL an Te ole ore CT ee eRe oe eee ae cc ce Pen Mme Ea Soria ee eee nce ect ance Pe Re ue eure Clu) activities varies from week to week, so visitors need to SRR ne eee eae eed Rice auoa |simpueTrec ANARKo PmV@ AVP) DAIHIU PLO) Bey Ble) Ki = TERN BANK HQ Caches me V4 1 CHB Building Technologies Ltd. oO voeamouse Landmark 15th floor, 12-14 Gulshan North C/A, Dhaka -1212, Bangladesh Phone: +8602 9641001, 9857961, Fax: +860 2 9868420 Exmal’! query@ehobdcon,chenio@[Link] ry ‘Web > [Link] Iehbba EASTERN HOUSING HQ SHAHJALAL BANK HQMalate O) Avan Se ee ee ee ed is constructed on a piece of 400/Sq. Meter of land Bee es Smee aed Cerrar aces The design criteria for such a unique location has; ee ere auc cena solids and fluids that would generate a provocative colloquy between water and the darkness of voids. coe Ce Un ene) ensured its splendor with the tranquil settings and. eee eee ttcSimplicity being the essence, the project relates itself with the surrounding by channeling a feel-happy mood making the nature as the ultimate source of inspirations. The bare concrete enclave, though uncommon in residential buildings, has been derived from the perpetual stimulation usually being generated within the local architects from the Assembly Building of Louis | Kahn. The site being surrounded by Gulshan Lake on three sides became the basis of creating an interior space that drifts the sole of its user to be blended with the outdoor spaces all the time. The vocabulary of the building is not new but how it has been manipulated to relate the nature is obviously unique. The sense of space, accent on the simple forms and emphasis on the play of light and shade made this piece of architecture standing out from other buildings. The Architects carefully crafted the interrelationship and the interdependences of nature exist in reality into the formal and visual characters of the building thus making the forms and spaces as ‘bold’ and ‘beautiful’ respectively. The horizontal shadow-gapes on over the facades on the building pacifies the potentiality of being paranormal or monumental to the nature. The sharp lines with subtle sweeping curves complement the thoughts of the Architects’ insight.The house that the Architects designed for Mr. Mohammad Sayeed at Banani Residential Area, Dhaka is a bold architectural articulation of the design to forge a new relationship with the nature. The exciting site with a lake almost coiling around the land, the balconies are extended as if they were birds unfurling their wings to get closer to the lake and the water flows under. The proficiency of the Architects also lies in their handling the strong geometric form and playing with the forms to create a rhythmic unity. Opening most of the rooms with wide windows, the architects succeeded in inviting shafts of daylight flow into the rooms uninterruptedly. The explicitly of emotional involvement of the Architects with the design in forming the house gives an eternal spirit that makes it a distinctive architectural piece in the local context. Being a multifamily house, the building consists of one duplex combining level 2 and 3, whereas other three levels have been designed assimplex to be let out to the tenants. A connecting double height loft between the formal living at lower level and family living at upper level forms the hub of the duplex and finally terminated with a double height lass facing the lake. Finally, the ‘Aroma of Concrete’ as it is being called, blooming the passionate touch of the Architects. @gladesh Leader in 2 ALR CONN OID O NI NCES GS =) Se CONFIDENCE TRADE LIMIT! Office: 09-05 Navana Tower, 45 Gulshan Avenue, Dhaka 1212 Phone No: +88-02-0889320,9888730 Fa -ax No. 88-02-9886665 Emall:conficencetrade@[Link] Web: [Link](ells) READING THE PALIMPSEST: An Evaluative Revelation of the Philosophies of Etienne Louis Boullee and Louis |. Kahn Dee oh Eg In different periods different notions played at least a temporal impact upon the architecture of that particular Po or eer Ste ee ee ca STOO Cert enc a Reece te en eS ec with previous doctrines and these new notions did not simply follow the sequential evolution but were present either in cynical form or were expressed in various combinations. The passion for the historical allusion, analogical justifications, asymmetrical order and ‘something else’ just not simply cut these architects from the tradition of the previous centuries but it relate themselves in a single parcel where they became concerned with more philosophical problems. Though perplexity of doctrine revealed by different architects, itis possible to search for the inherent pertinence among those doctrines. Being pursuit of doing so the attempt is made to bring two great architects Etienne Louis Boullee of 18c and Louis |. Kahn of 20c as samples in revealing the Se a a eR secur See uc e‘Newton's Cenotaph According to the chronological order E.L. Boullee, one of the great French architects, belongs to the Neo-classical period whose full importance for the 20c architecture was widely discovered in the 1950s. For hhis affection of grandeurness, though was not necessarily ‘utopian’, he was called as both “Megalomaniac’ and ‘autonomous’ till the last century and in recent statement some label him as ‘dreamer’ or ‘visionary’ (HG Pundt) architect. He was more fascinated for the theoretical projects than construction of buildings. An ‘unambitious’ and ‘conscientious’ man, Boullee expressed his notion of austere and sublime forms in the design of the Newton’s Cenotaph. The immense influence of Boullee’s geometrical abstraction of pure forms even reached his contemporary dissentient Karl Friedrich Schinkel which is explicit in the design of ‘National Theatre’, Louis |. Kahn, born in the first year of this century, started his carrier as architect at the climax of modern movement where he stopped over for a while and moved towards his own ‘house of soul’ and remained consistent throughout his life. His departure from the universal style lead him in constituting 2 ‘new beginning of the modern movement’ as it had begun in the 18. Kahn's supremacy is becoming more perceptible with every passing year. He unequated his contemporaries having ‘a presence, an aura’ in his works. The body of his works are ‘Platonic, abstractly 52|o0r geometric in the essential shapes....translated into matter... frozen into mute musical chords’ The intent of the text is to critically evaluate the philosophies of the said architects to pull out such analogies which they possessed in their cache of architectural notions. “What is architecture? Shall | join Vitruvius in defining itas the art of building?’ The very first sentence of his essay, Boullee tried to refute Vitruvius by posing the gesture that architecture is not merely the art of building in finding the cause producing effect. As the noted French academician, Gaston Bachelard has pointed out, ‘the intuitive insight of the artist can not be explained through the cause-and-effect structure of scientific reasoning, but like a depth change, explodes in the centre of our being, releasing to the surface the debris of our unconsciousness’ Boullee hinted the origin of art and tried to eulogise nature as the source of it where he bolstered the significance of ancient architecture as the ‘ruins’ with ‘perfection’ but did not relied upon them as the satisfactory ‘treaties’. Kahn being acumen for archetypes never prompted his works to be the imitation of ancient. To Kahn the ‘emergence of architecture as a human expression’ was colossal important because he believed ‘we actually live to ‘express’. In defining architecture, Kahn’s approach was paradoxical but not materially provable and had proclivity to the essence of Boullee’s definition. Kahn believed in that ‘architecture has existence, but it has no presence’ The existence of ancient architectural works is nothing but ‘offering to architecture’ which implies that the architectural works je. the particular pieces are tangible and architecture is intangible. In this respect a resonance hits our aural sensation by the words of Kenneth Frampton when he prefaces an Opposition Book by Alan Colquhoun; “In ‘Historicism and the Limits of Semiology’ Coloquhoun insists that semiology in itself cannot be regarded as generative method, first because ‘no system of logic can contain its own explanation’ (Godel), and second method. It is concerned with the formal structure underlying language, not architect like the poet, cannot escape the modern demand to reconstruct an expressive language from the aesthetic range that society had adopted in the past”. Boullee’s negative attitude towards the previous linguistics or Kahn's departure from prevailing trend of architecture was obviously an admonition of great dissatisfaction and probably acted as the reactive force in forming a new wave in architecture, where both of them clued the existence of a ‘third entity’.Ue See a eee a eng Cee ae ea ead SOR eee Set Le ne ee eed Set eee a eer Co ee ee ee ee eee ‘numerous ‘inauthentic’ adaptations & recombination of the past form. The task then was to rediscover the CO a eae eae Seen Lee Reece un as the ancient world and starting afresh from them’. But Re een nce Naa ee oe ee Ce ee ae LD Sees eee em es ae then Boullee had never confessed like this; Dean ey who have considered architecture from the artistic Pee ee BR AUR un eae eae Ee eee eke RR ec ae ee indicated the discomfort of human being with their place in the world which led different thinkers of Sect ee contrary and over simplified by a quotation “The whole history of the rise and mutations of styles Coe Rau ed Se ea knowledge has arisen not from an act of will, or some one setting about the invention of a new style, but Peat eee ee cee ne Ley ee aes ee od ean Cee eee en ad style aroused in both Boullee and Kahn derived from PRU ce ee cues Ne eae eee cere ee ae architecture he conceived were in ‘off beat’ and were ene eee a CC tN ees er ete them as ‘fantastic’ which he abjured to do but obviously can be tagged as imaginary. If it is so then Neco Cag ee eee eee Cea ees Ree es cc contemplated intuition as the ‘most reliable sense’ and must be considered as ‘the greatest gift and the most personal sense’ Dey SE)GENESIS In paraphrasing the idea of Boullee regarding the genesis of architecture we find the distinctive dichotomy persist in his statement “Art, in true sense of the word and science, these we believe have their place in architecture” The sensation, through which the whole universe is perceived is of paramount importance, in breeding a piece of architecture though “safe building method” plays an inevitable role. In Architecture, Essay on Art Boullee tried to put emphasis on that constituents which “cannot be demonstrated” through a scientific linguistics. Boullee apprehended architecture as a mingle of art and science but could not concluded the voyage anchoring into the true genesis of architecture, where Kahn uncovered the genesis in Silence and Light, the ‘unmeasurable’ and ‘measurable’. According to him genesis is not a single dot bloomed at past but is something which is taking place at every moment. ‘TRUE MEANING The quest for the ‘TRUE’ meaning of architecture Boullee remained dogmatic throughout the total essay. His urge for it started from the very beginning of the writing when he profusely suggested the existence of art in architecture and expressed his agony in ‘the majority of Authors writing on this subject confined themselves to discussing the technical side” NATURE AS THE SOURCE OF ART Describing nature as the source of architecture, as stated previously, Boullee noted Perault and objected his notion by disproving that architecture is “fantastic art that was pure invention”. In doing so he supported the paltry existence of fine arts in the thought of Vitruvius regarding the prerequisite of architecture which combines the ‘Knowledge of those sciences related to geometry, such as mechanics, hydraulics and astronomy, and also physics, Medicine etc’. His blaming Francois Blondel in failing to acutely the ideals of Perault indicates his avidity of incorporating nature in the origin of architecture. Kahn echoes more poetically without any hesitation that nature is the maker of every thing and one cannot design without the help of the nature, This same notion is dispersedly persistent throughout their every assertion. The only difference prevailed in their destiny is that Kahn expressed his desires in the form of verse and Boullee did it candidly. Kahn insisted the architects to be the advocate of nature and unlike other contemporary thoughts Kahn through his woks blended architecture and the nature ina monumental manner instead of ‘Writian’ harmony and Rationalist contrast. Boullee wrote “It is impossible to create architecture imagery without a 54 oor occ=MBeR 018 profound knowledge of nature: the Poetry of architecture lies in natural effects. That is what makes architecture an art that art sublime” which simply a mirror image of Kahn's perception. Again Boullee pinpointed the nature in explaining himself in the ‘company about the Peristyle of the Louvre he states ‘You admire the work of art but the architect himself has admitted that itis based on pure fantasy and owes nothing whatsoever to nature. Your admiration is therefore the result of a particular point of view and should not be surprised to hold it criticized, for the so-called beauty that you find in it has no connexion with nature! This is true, Boullee agreed that the relationship of nature with beauty was not so easy to elucidate but through his judgement he profoundly expressed his intention in tracing the cacophony which he thought should be taken care off. Unlike Kahn, where he demonstrated his passion for nature mostly through his works, Boullee’s alliteration of nature may cause ennui and seem banal. It is understood that this alliteration was just to awake the architects from somnolent. Boullee did not discard the possibilities of being questioned by the people that ‘beautiful’ pieces of architecture persisted and thus he formatted the defence mechanism in his writing to defend himself as stating that “if architecture had acquired the perfection attained by the other arts, and if there were as beautiful examples, we would not today be reduced to trying to establish whether architecture has its source in the nature or whether itis pure invention’. ‘According to Boullee the nature is the breeding place of ‘beauty’ and the beauty that is derived from nature is ever true. Whereas Kahn conceived architecture and nature as ‘total harmony’ which can be most strongly be connoted only by saying ‘beauty’ not ‘beautiful’ nor ‘extremely beautiful’ or ‘very beautiful. It imparts that Kahn was always allusive and metaphorical in statement. Boullee perceived architecture like other arts and straight forwardly asked for evidences against his assertion. This perception of art provoked him in finding the true meaning of architecture. Again he acclaimed that the other arts had attained the perfection only because of their contiguity to the nature. The formidable challenge overwhelms us when we detect his “..dare hope’ in establishing the relationship of architecture with nature and a greater impact of nature on architecture than other arts.It can be inferred from his writing that he was quite aware about the notions of different architects and critics who tried to give architecture a definition and envisioned nature as the origin of architecture (Laugier, with his Rustic Hut) but nothing could satisfy Boullee because the relationship of architecture with nature what Boullee advocated mismatched with others. Is ‘nature, as suggested by Boullee, extracted only from the worldly elements? Or something more than that? The answer may lie in the words “All our ideas, all our perceptions come to us via external objects” and “for if such art existed it would mean that the Divine Being, the creator of Nature had endowed us with a quality that is part of His own essential being”. It means he believed in something which is more than a dialectic inference. The similar sensation arouses from the quotation of Kahn when he orchestrated ‘To hear a sound is to see its spaces...The spaces of architecture in their light make me want to compose a kind of music, imagining a truth from the sense of a fusion of the disciplines and their orders’. It is noticeable that in drawing any inference Boullee went through some logic but Kahn was more of a poet. At a stage Boullee wanted to set analogy between forms and human organism through a process of studying irregular forms and inferred that the irregular form in response to the light produces pell-mell rather than ‘variety’ and ‘lies beyond our grasp’, which indicates that his passion for pure form was in the post-burgeon state and parted him in studying on regular volumes where he found regularity and symmetry as well as variety as a whole ‘represent order and order is clarity’. But Kahn’s journey towards pure volumes was mesmeric, his connection was merely spiritual. Both of them were activated for the reincarnation of the platonic forms. The proportion as Boullee mentioned is the combination of all these properties where regularity gives it beautiful shape, symmetry gives it order and variety gives diversity Which altogether gives harmony to the volume. Boullee equated the above as Symmetry -> Order & Perfection Variety -> Spiritual Need Proportion and harmony <- Nature Like Kahn, Boullee also provided hints of ‘immeasurable’ through his investigation where he concluded with ‘..have an immeasurable hold over our sensation’. The notion of ‘Order’ as revealed by Kahn, however, similar to that of Boullee but the delineation is astoundingly opposite. As it is mentioned earlier Kahn again apparently posed Proto: ure Ratan an or pecewnen 201e\55himself as an escapist by stopping in saying ‘Order is’. The potentiality of immeasurable. this small sentence is The philosophies of both the architects on particular elements of architecture will bring more delight. Besides, one may hear a resonance between two philosophers one being distant of more than a century from another is tuned for a common symphony. Similar parallels can be made between the works of Kahn and those of Boullee. Here the evidence is far more prolific since not only the formal aspects resemble one another very closely, but the correspondence of doctrine is also evident by their works. As Kahn remained in the Modern movement (educated under Beaux Art) in the early stage of his career itis plausible to have an impact of the pioneers of that movement. If Le Corbusier is assigned as the mediocre, it will be clear that Corbusier unearthed the abstract values of the medium of architecture which acted as the ‘central’ between Boullee and Kahn. Le Corbusier's parallel notion of volume is attested by documentary sources. For example in Towards a New Architecture (1927), Le Corbusier deliberately defined architecture not in Vitruvian terms but in terms of the sculptural effects of light and shade. ‘Architecture’, Corbusier wrote, ‘is the masterly, correct and magnificent play of masses brought together in light. ur eyes are made to see forms in light. Thus cubes, cones, spheres, cylinders or pyramids are the great primary forms......they are not only the beautiful forms, but the most beautiful forms’ Peter Collins connotes Boullee’s doctrine in a mathematical manner where he proclaimed ‘The effects of architecture are caused by light’. Is that so simple? Was Boullee only striving for the mathematical basis of architecture? The depth of his essay perhaps tells us something more as he considered art ‘still at its dawn’. When we find Kahn's precedence from the sketches of Piranesian Rome for the connective system between 6 )oor occemacn ane various forms then Boullee is considering these works as ‘follies. In refuting Piranesi, we find him antagonistic, may be due to that the works of Piranesi were claimed as ‘pure inventions during that days which he did not applaud. But itis easy to ascribe that ‘the way Piranesi played with light and volume to some extent corresponds to the works of both Boullee and Kahn. The resemblance that is conspicuous will become clearer in later part of this paper. Boullee’s stress on grandeur and majesty for the architecture which it demands deeply corresponds to Kahn. Boullee endeavoured his notion through the language; the first of all to provide grandeur is to select a ‘mound’, ‘endowed with all the beauties of nature’ and then the buildings would be ‘mere accessories’. The base of the whole arrangement should be blended with lush precinct and flowers will exude fragrance ‘like incense offered to the Divine Being’ and ‘the natures first crops would be offered to the God and thus thanks would be given to the Supreme Being for his blessings, Khan delineated his similar notion through his architecture. As we can easily find the National Assembly Building of Bangladesh is a virtual statement of Boullee’s linguistic, where the Capitol Is resting on a datum, rising from the luxuriant green, and is entered beneath the mosque as to him ‘the house of legislation is a religious place’. Moreover, the incorporation of water body for ‘mirroring nature’ remained equally important. Both of them in asserting grandeur are distinct in creating spaces which arouse a sensation of ‘earthly paradise’. The idea of Boullee in creating ‘new delight in every step’ is advocated by the works of Kahn where both of them incorporated unique spaces, former in his ‘revolutionary’ schemes which were not implemented and later in his different works. What was their destination? Were they true to attaining or delivering similar notions? There may arise more and more questions but the reply of such questions may scintillate in the inner most corner of one’s mind when passing through them. It is not necessary to view their works but enough to have a saunter around their literature. One may get consecrated or may assume oneself cruising in the platonic era by the Kahn’s words with poetic assertion which forms its existence at ‘Volume Zero’ or one may feel nothing with the rustic and candid statements made by Boullee. But it is their two different paths, one is down to earth other is at enigmatic level, lead ‘them to the common destiny. If we can consider them as two mirrors placed one opposite to another the infinite images will force us towards ‘absolute beginning’. Kahn’s ‘singularity’ finally reminds us that the absolute similarity does not exist but resonance do 50.@YOU DESIGN e Pretect For alll sorts of Fire Detection and Protections Systems BENGAL TECHNOLOGICAL CORPORATION LIMITED eRe ea ee eos Reap teon ter ail Ree aE’ eee enna on nn web: [Link]Architect Bena rele ve Own Residence8S Cpe eryThe architect's family home and studio is situated in a high density residential area in the heart of Dhaka city. The design is in an L-shaped pattern, consisting of the home and studio, in order to optimize inflow of prevailing wind and to create a sense of privacy between two distinctly different activities. The design emphasizes the use of locally produced building materials, technology and crafts. The landscape is dense plantation and foliage which brings memories of the rural landscape of Bangladesh. The building is based on load bearing brick walls, exposed both inside and outside. Finishing materials like brick pavers and crafted solid woodwork for doors and windows blend with each other, creating a harmony with the surrounding earth. The building form and finishes create a naturalness that evokes cultural memories of the historic past of Bangladesh. teal ‘Owner: Architects Family Location : Indira Road, Dhaka Architect : Bashirul Haq 1979 : 1981 ‘Commencement ‘Completion Total Bult up Area: 450.00 Sq. M. Cost: Taka 900,000.00 Photographer : Ar. N.R. Khan SubrataSikser or pecenseraare|59@GREE " DAIKIN CO mwe Alr Conditioner Ait Conditioner ‘Air Conditioner ONE STOP SOLUTION HOME | OFFICE | HOSPITAL | HOTEL | INDUSTRY Air Cooled Chiller We Precision Type AC Water Cooled Chiller» Marine AC Multi VRF System © Vehicle AC Air Handling Unit Rooftop Packaged Energy Recovery Ventilation Unit ®* Ducted Split OI755696II1 Electro Mart Limited @]o\7SS 5 SEM a somanns [Link]The building is designed as a series of circular plans Be uN ee ee ee ecm gerd Reese eS eee from past, present and future in one string. They were SEE ce te Ma enn Tene Se Nee ee amd the surroundings is magnificent, a lake at the East and De as Itis not often that you walk through the entrance of a building only to find yourself in an open space - a protected fragment, silent and apt of concentration in Seem eae es PAU te Le ur Pee SC es Four acres of land along, with an abandoned helipad OOo occ Reamer ee PROJECT tas CIRGLE “a multifunctional space Pe “ r Dee ERIS cau ee Ree ee uae ee eed PC eee eae ado son Pema nsec acc Rou wes Design Studio took the challenge to suit to the needs ROC ose une CR ae Cac id Ce ee ee ae ec oe Rd model had been drawn. The architectural strategy was inspired by the studio's keen interest in how different Fe ee Rn cg Cee Re etc Led contracting seamlessly according to varying needs. Dee C MC eT DS ee Mu Ree ey Rien ac here eto ear]ewe Se eee ate ceremre renin Clare: banged hae aor ce caine isaac stl. LS, eases aa aa eS | a Completion : November, 2015 DESIGN TEAM Principal Architect: Sayedul Hasan Architects: Jannatul Nayem (Mishu) Rifet--khoda Neela Badia Badrudduja & ADS Team Structure Engineer: Eng. Maruf Ahmed ‘Mechanical Engineer: Eng. Ashrafuddin Electrical Engineer: - Eng. Asaduzraman Talukder ms Landscape Design: Team te 4 | f Consultant: ‘Architects Design Studioconstraints, the designer's initial idea of a continuous and linear circular expression was eventually looped to improve the efficacy of the floor plan. Double layered concrete black and brick walls are mingling with each other at different heights in a circle into a space, which symbolizes love, engagement, meeting and a gathering place. Rana says, “This design attempts to demolish existing physical and perceived boundaries that commonly existed between different programs and spaces in multipurpose halls. Walls which are traditionally used to separate and differentiate areas are absent in this hall, a passageway employed to encourage movement and engagement between spaces. Having these ‘ring’ walls replace the typical circulation route also helped to lengthen the experience of moving through the hall with an injected sense of surprise at every bend, Dimensions of the spaces were delicately balanced to ensure that optimum space was provided for both confortable circulatory access and experience”. Three giant inviting arches, along with circuits of connection throughout the audience floor, encourage the creative agility across and between functions that is central to this design. The open circuit stepped ramps link all the major spaces - plaza, lobby, reception, toilets, pantry, barbeque spot, exhibition gallery, event stage, informal gathering, green terraces and to the amphitheatre. The project has been designed from inside to outside; the designers have conceived of the conservatory as a place for exchange. DoeAbanyan tree (Bot) at the centre of the amphitheatre exhibits as a symbol of the first gathering place of human history. Their idea has driven the project from the multipurpose hall to the ‘Bot amphitheatre’, a place where people can play, learn, dance and create. The design resembles a ‘gathering in an open’; building has an exposed structure that combines stee! and concrete columns, block and brick walls with tiled and paved floor and tensile roof. There are cascading of water fountains flowing vertically and horizontally which bring down the room temperature naturally during the hot summer time. Spaces within the structure accommodate a variety of functions, including any event’s venue stage for 500 audience members. The architects’ experience regarding the Interior, “it is about providing an all-round sensory experience; it’s about feeling comfortable and also about feeling surprised and delighted. Skylight washes the tensile edge with daylight, enhancing the openness that is enjoyed. This openness is attributed to the decision to retain a connection between the interior space and outside nature rather than segregating them with glass and/or other materials” It’s @ sensory expression of the unique culture, geography, design and heritage of our soil that is connected by a feeling of light and a sense of space undulates in the light, enlivening the building by day and by night. A place of mévement and emulation, the eae ee TRC eau mre Pets Rieke cc te toe ea oe and engagement pies: Ce very comfortable while also feeling that th Ce ee s 66 oor: occenen 018Preengineered Systems Provider Profile Manufacturer Glass Processor Facade Fabricator DALCO BUILDING SYSTEMS LTD. « 3D ARCHITECTURAL INDUSTRIES LTD. s wy A—b—E—O- " DALCO-AJ FACADE FABRICATORS Sn eheieidea ianeune ed ‘Daloo-AJ Facade Fabreators 3D ARCHITECTURAL House 120, Road OF, Black F, ‘Apt. B3 (3rd floor ), Banani, Dhaka 1213 INDUSTRIES LIMITED, otine,se00 814123243 =o Daleo Building Systems Lid. aaa House 3, Road A, Bock.) ‘Apk-AT &A®, Baridhara, Dhaka DALCO ears etna cet © WL /NCGE): ae Dhaka Thal Lid Na House 3 Road 9A Block J BUILDING SYSTEMS ‘ApL-A2 Bandara, Dhaka DALGOVAU FAGADE FABRICATORS Hotline: +8801747638340,PHOTOGRAPHY The Wall & Life Strange Eyes Leisure Time Bloor cecense zoeThe Loner TO oor cecerace 2018Love on the Edg17a AG mations Js Pere ear ae pian cee edema Be eee pean need PreeMohammad Eunus: Pena eo Oe ec) Se ae a ee Aeon CE eet as Re ee eu visualize the painting that won the Peet eo Pease mn painting, though very implicitly, symbolized the war-ruined newly born Cee ea een Pes Bere cocoa erect ets eee a Sea ppassed out with distinction from the ae) echoed the devastating condition of the society through his ‘Stil Standing” painting. The statement of that painting was nothing but restating the rece need Cec eons ere eee eet Pree at penne ees ns ese ea tea tity eee nen tee that we could apprehend today. Pe er ee Oe ee eee eee Ru parentless even before it could Cross een ace Ce aoea atest ey jump over to a comparatively better situation in the 80s.‘As other brilliant young artists in his early days, Eunus showed his acquisitiveness towards the interplay of landscape-nature with light-shadows. His water colours were vibrant with minimal interventions and can be marked as the finest works in this medium. Eunus has fostered himself through a perfect process of practice and never intended to skip the steps. This might have been the reason for his steady growth to reach the pinnacle. In the course of time, like all successful artists, Eunus devotes himself to different stages to reach the apex. He exerts his efforts religiously in producing paintings and works simultaneously on several of them. This is quite unique for an artist shifting his thoughts from one to another in a given frame of time. This indicates Eunus’ ‘meticulousness in perceiving life and finally putting them into his works. As mentioned earlier, Eunus’ Journey of almost four decades is covered with several experimentations and styles, and his withdrawal from the illustrating imagery in art put him in the cluster of ‘Abstractionist’. He liberated himself from what he started with and excelled with the abstractions. Unlike ‘Fauvism’ where the colours are being deliberately altered in contrary to the reality or unlike ‘Cubism’ where the forms are being geometricized, his abstractions are not conspicuous; they are of their own without any reference to the reality, defying any partial abstractions. It has been mentioned that Eunus has gone through several_experimentations throughout his career but never fumbled to reach the way he wanted to express himself through his works. His consistent experimentations are just the steps set one after another in order to rise to a destination where he ultimately belongs. Eunus considers himself as an Abstract Expressionist and believes that it’s a subject of research and through experimentation one can achieve the goal of accomplishment. Though his thoughts are always submerged in the elements of nature but his expressions tend to defy imitating the outer shell of the reality, rather he tries to grasp the inner soul of the elements and represents them on to the canvases. Being attracted by the nature and its cosmic elements, Eunus depicts the inner thoughts and beauty with their own forms, textures, lines and colours. The conflict and harmony of nature and of the universe excites Eunus to avoid preparing the base drawings or layouts for his works; instead he starts his dialogue with his paintings in a more dialectic manner. His expressions are the derivatives of his memoir that hecollects from nature time to time; sometimes he governs the colours and sometimes he lets the colours take precedence over him, thus searching the meaning of the colours prevailing in the nature. To him painting is a journey to reach a destination through an Unsolicited route and to gain new experiences in the course of such a voyage. Such notions are explicit in his paintings as he adopts several layers, some of which slowly become transparent and visible. His ‘Walt series paintings are the perfect depictions of such characters where the newly built clean walls in the course of time turn into a different visual element, embodying the weathering effects and lack of maintenance. These effects truly elucidate the continuing changes in the society. His technique of applying abrupt colours and then trying to discover the solutions is a singular way of how he handles his paintings. As Eunus pursued his endeavors through methodical manners, he believes that the basic grammar is a must to become a good painter and to break the grammar itself. His works are divine and devoid of the mundanities that finally ensures the spiritual philosophies in his paintings. Like others, Eunus has created his own domain where he could create a character which differentiates him from others. In his domain he has vouched his very own modalities and techniques through which he postulates the beauty out of dreadfulness. 76007 occeuncr 2018Being trained in Japan during his post-graduation, Eunus has never been trapped by the Japanese style; rather he could grab the essence of his training there and employed his own feelings and emotions through colours and forms. Eunus’ paintings are abstract like classical music or modern poetry where he rejects the external aesthetics and reveals the inner soul of the elements. ‘Attempting to emulate children’s drawings is also another specialty of Eunus where he, not literally, blindfolds his eyes and plunges his conscious mind into the unconscious inner naivety of childhood. Ever unsatisfied with his works, Eunus allows the audience to stimulate themselves with their own ‘thoughts so that they can redefine his paintings in their own way. In many cases Eunus, being socially responsive, has done few works where he showed his commitment and capacities as a citizen of the society, obviously by his own language of abstractionism. His works are mostly non descriptive and they are mostly emotion driven. He derives the emotional essences from real life’s odds and depicts them on the canvas with his own style. Eunus, in his creations, is honest, creative, patient, self-esteemed and secular and keeps remembering that great paintings are not the reproduction of any famous works, but rather the continuous quest to Beauty of or pecenacr 201e|77create one’s own style. His recent style depicts brilliant colours bringing out the articulation of forms in different pellucid layers. As mentioned earlier, Eunus is an experimentalist not only with forms but also in Using varied materials in his paintings; hence he excels himself to a height artists can only desire for. His own techniques resume from preparing the canvas then applying colours, thick and thin, sometimes adding the debris or found materials, with scratches on it, He never stops as long he finds it at least acceptable according to him. His thirst for making a perfect dialogue between his conscious and the canvas sometimes compels him to destroy his own work to begin from thereon with a new patch of colours. The process continues till he receives a message from his works that it is what he wants. As an experimentalist, in the 90s Eunus did quite @ number of collage works and in recent days he resumed doing more collages with different materials like corrugated boards and fabrics. Mohammad Eunus’ efforts are worth mentioning for the future generations as it indicates that consistent and sincere journey is the prima facie for any person, whether creative or not, to achieve the inner goal set by one’s conscious. Therefore, the word ‘success’ to him is only a logical consequence of the propagated journey. @HV/MV/LV Switchgears ‘Automation (Industrial & Buildings) Industrial Control & Distribution Equipment Power Management With Tailor Made Solutions (Energy Efficiency & Intelligent Lighting Controls) Busway Systems Aesthetic Lighting Products & System Design Including System Design & Equipment Supply For: Power & Distribution TransformersBIMSTEC HEADQUARTER : Bengal Initative for Mutti-Sectoral Technical and Economic Cooperation.The Bay of Bengal Initiative for Multi-Sectoral Technical and Economic Cooperation (BIMSTEC) is a regional organization comprising seven member states lying in the littoral and adjacent areas of the Bay of Bengal constituting a contiguous regional unity. This sub-regional organization came into being on 6 June 1997 through the Bangkok Declaration. It constitutes seven Member States: five deriving from South Asia, including Bangladesh, Bhutan, India, Nepal, Sri Lanka, and two from Southeast Asia, including Myanmar and Thailand. The objective of building such an alliance was to harness shared and accelerated growth through mutual cooperation in different areas of common interests by mitigating the onslaught of globalization and by utilizing regional resources and geographical advantages. Unlike many other regional groupings, BIMSTEC is a sector-driven cooperative organization. Starting with six sectors—including trade, technology, energy, transport, tourism and fisheries—for sectoral cooperation in the late 1997, it expanded to embrace nine more sectors—including agriculture, public health, poverty alleviation, counter-terrorism, environment, culture, people to people contact and climate change. It is indeed a matter of pride and honor for a country to hold the secretariat of such an international organization in its territorial possession. And the subliminal opportunity is getting to design its secretariat. The design has been made in accordance with its doctrinal predicaments. The design thrives to meet up its operational necessity with an added flavor of public participation. The design allows the mass people to synchronize their ideologies with the technical and diplomatic know-how of a multinational regional co-operation agency. The program is based on the following principles. 1L Supporting the full-fledged official operation of its doctrinal wings. 2. Supporting the formulation, planning and execution ‘of BIMSTEC working principles. me ene e—— =3, Supporting and accommodating all of its international strategic events. 4, Supporting the bridging action between BIMSTEC policy and Public participation. 5, Accommodating a common space of cultural mingling reserved to an exhibition extent; which in turns will act as a promoting factor of Bangladesh that's best referred as place branding. @‘As | were to design an Airport which serves both international and domestic routes, my initial ‘thought was to separate the different routes both functionally and in massing, The two separate circulations creates a force of movement from entry towards the ‘wings connecting the boarding bridges. And this linear movement is joined at the entry which was signified the exposed steel framing there. Even through the consistent battle with now massively growing city the root level natural landscape of Chittagong is somewhat hilly and full of greeneries. CRB and other park areas are mostly hill tracts with large trees. In my design | tried to give the arriving visitors from various parts of the world an environment which solely speaks of the natural beauty that is Chittagong. Prot Bon Sarma ‘Ms Naja Bite Kabir ae Aye Sau Proje supervise: De Raman Rast nal Airport eran lu) year: 2014(Thesis Project) Py Secu uaestiy Tacs ‘Science & Technologycategory ce 7 Fist Foor PlanProject Concept : Photography institute is in fact a Pocket park. Pocket parks, also known as minipark or vest-pocket parks, are urban open space at the very small scale. Pocket parks are frequently created on a single vacant building lot or on small, irregular pieces of land User Needs: ‘Accommodate as many different users as possible, according to neighborhood needs. Conceptual Element : Visual Element Visibility : Openness (Pocket parks should be visible from the street) Gathering : Indoor and Outdoor Cafe,Gallery Calm and quite : Tress and Water Greenery within pocket parks can help regulate microclimates and act as the “lungs” of the city, while permeable surfaces increase infiltration. StutioTecherLike a rock in a stream, people of the sea-city Chittagong passes a few moments in these highway restaurants then flows off to the city-sea of Dhaka. In this project, | hhave used both parametric and computational design processes to achieve a smooth memorable experience for the users. The design process focuses on three ‘major parameters: . Crowd Simulation: Since the users have a very limited time to stay in the premise, by using ‘crowd simulation’ a faster smoother circulation and orientation of the programs has been ensured li, Brick Module: Common bricks are widely available in the Dhaka-Chittagong Highway. Almost all inner walls are made with this local material, many of them which are three dimensionally curved within the capacity of a human builder. ili, Environmental Forces: The ‘fins’ of the super roof are designed in accordance with the sun path and wind direction to. ‘maximize their efficiency. The orientation is such so that the direct sunlight gets blocked but not the wind or the view from within. ‘The structures are also considered ‘to withstand earthquakes to a greater degree and the waterbody is intentionally left untouched as a notion of respect for the mother nature.@ seus Tescher err ahmed 86 oor: occ=Ben 018 “5 GROUND OOR FAN A SP Z _., Highway nae Department of Architecture Uap Pacific ow 3 By EXPLODEDMemorial for Awareness MD. Masum Billah Tarafder Studio: 2.2 Department of Architecture Rajshahi University of Engineering & Technology (RUET) The objective of this project was to develope a form or space conceptually under the title “place for contemplation’.there was three categories under this [Link] categories are: 1 memorial 2 meditation place 3. religious place teachers chose the categories for the students. students were instructed to choose an imaginary site. Be Gegeos oy SECTIONCommentiation categorvg Designing an Art Gallery: LISTENING TO THE STRUCTURE Nazmus Sakib Studio: 2.2 Department of Architecture Bangladesh University of Engineering and Technology (BUET) The very concept of an art gallery imy ward focus. While the need to showcase the artistic ‘treasures contained within is self-evident, the need to connect these sheltered exhibition spaces to the outside world is also acknowledging. Here comes the necessity to design a gallery with iconic and monumental structure. Even iconic design that turns ‘the gallery itself into a sculptural element may fail to make a reference to its particular surroundings. As the site | was given was of sloped contour, the gallery programs were arranged respecting the contour. The “ site configuration basically led the design of the ~ gallery. ‘The concept was to respect the contour with designing a sculptural folded structure of concrete. The folded structure not only helped structurally to withstand the sloped site, but it also aggrandized the gallery with the concrete material and surrounding. The central stait plaza was intended to maintain and to serve the viewers a journey of a sloped path. It also connected the exhibition spaces with ramps. The journey ends with an outdoor amphitheater, where viewers can gather up, discuss and enjoy the mother of all art, nature. @ Prof Oe Md Shah Amen Mahmadul Anwar Ryan Nets shor ‘anol Moeein ‘AxonometricATL NOLTE agazne Afr Det W825 rth x10 inc) Germany's most popular furniture brand NOIte is here in town, thanks to the collaboration of HATIL’| nolte Come explore the largest ever display of European. Fumiture crafted and customized by a team of internationally acclaimed professionals. Give your home a touch of exceptions. Be Inspired. @ Kitchens @ Bedrooms © Living rooms Made in Germany MATIL’ MOWE (Jamuna Future Park) HATIL Molte (Gulshan-2) HATIL” MOHE (Chittagong) Basement-1, Ud-11,12 & 13, East Court NW ()2 (‘st floor), Kemal Ataturk Avenue £643 Access Road, Agrabad ‘Kun Progoti Saran, Baichara, Dhaka Hotine: 01730-731 270 Hotine: 031 2516286 Hotline: 09 678 444.444di 28 Uyueaiilelss v7 Sees Re eu ss ae ec a eT eo spacious and relaxing, soothing and sober in experience. As a financial leasing company, IPDC dates back a rich history from 1978. So, while asking the client about the theme to be developed, the owner suggested for a space EE uc cued Ck MT eu Meuse a coat uM Rad theme where clients will get a warm and welcoming vibe while visiting the office with a feeling of spaciousness rather than a cramped space with lot of workstations and functions. Once entering the office space, one willbe welcomed by an illuminated front desk which is set in depth of the lobby, so that a feeling of ample breathing space can be felt. A set of soft white lounge sofas with a centre table creates the first impression of invitation with very clear intentions - simplicity. There has been a few alcoves where some little pieces of art have been set, as well as some beautiful paintings on the walls depicting urban scenarios, to give it an essence of softness. ‘An exclusive club royal is there which doubles as a meeting room for nts, where the focus is the wooden floor with elegant off white sofas. The ambience of this room is enhanced with the intelligent use of branding materials and light. PROJECT ABSTRACT Project + Interior works of IPDC Location : Dhanmondi, Dhaka Client: IPDC Finance Limited Project Period: 2016 PROJECT TEAM Architects: Ma, Shakhawat Hossain Rocky ‘Ahmed Firoz UI Hoque Khandaker Ashifuzzaman Mad, Sharifuzraman Sajal or pecenaen 2o1e|94Leseno ae 5. ecapion 5. MewineXsk 6. cub hl 8, Wrttason 3 People 10 GaSe 2. Pay Baar ote Furniture Layout Plan Simple white metal frames and greyish wooden textured tops are the main theme of the office furniture. The dining room is very light and airy with simple tables and brilliant white chairs. From every corner of the office, one will not feel cramped as there Is ample light, space and art. ‘The message of this interior design is very simple, clear and bold, yet elegant. Such elements like louvers, lights, soft brown textured cladding, filament light shades, etc. have been used deliberately and placed delicately, so that it can be repeated in the further branches of IPDC to create its own brand identity as well as in interior design and space making.The total office space is well illuminated by daylight throughout the day. Light entering into the office is efficiently screened by sun screen blinds, making it more soothing for a working environment. An open type meeting room is designed where the view is panoramic and is accompanied by a green grass wall to make it closer to nature, while sitting in a 10th floor office space. Screens have been made by simple rectangular louvers of wood and glass ~ not harming the simplicity and boldness of the space. White gravels in the floor within intermediate spaces give it the required dimension of simplicity, yet intimacy in scale and texture.SS Sanitary. & Plumbing for Healthy Life OUR PREMIUM CLIENTS rere eas EU Ca a " Barek Market, Shah Kobir Mazar Road ee ee alee are D) aire ech onion‘Minimalism’ -simple spaces with simple expressions was the key theme of the project. Simplicity in form and function; clean flow and separation of spaces; uncomplicated cladding & wall finishes; clean and simple detailing of elements, devoid of decoration; strategic use of materials for visual interest; texture, all reflecting and exposing the personality of the client. Based on the concept, the design was focused on meeting practical day to day issues of modern living Furniture were custom designed for accommodating daily needs in a disciplined and organized manner. ‘Particular space for particular function’ was the main score where all elemental means, from floor to walls to roof, played the same notes of a fundamental but modernly composed symphony. This very idea of ‘combining function with form in a simple and \e,Original Floor Plan ecen Sierottorale Leeytoee 3 2. ung Room 3. Gvest ted “Guest Bath dining Room ytchen Breet Nene Family Spee ‘ih waserbath 12. cre Be Room PROJECT ABSTRACT Project: Residential interior Location: House 122, Lane 21, DOSH, Mohakhall, Dhaka 1206. Site Area: 235 sq.m. Client Self Commencement: 2014 Completion: 2015, PROJECT TEAM Architect: M.A. Wakee! Khan & Associates. a Remodeled Floor Plan ‘minimalistic way then became the focus of the entire plan. To capture the simplicity of the idea ‘minimal’, the colour ‘white’ emerged as the essential fabric of the architectural body of the project. This simply difficult colour, along with an addition of black and wood in a non-friendly and hard to maintain environment, eventually gave rise to the fullest exploration of materials and techniques. Areas like ceilings were easy to deal with as those remain out of daily reach, and even the floor and walls. were fairly well-done with the help of washable tiles and paint. The problem was with the areas in regular use, such as the cabinets, tables,open-shelves, counter tops, etc. This became a nightmare when the client wanted to have single surfaced tops both vertically and horizontally with no covering of glass, transparent plastic cloths or anything else. I want to see, touch and feel the texture of all the elements with minimal maintenance’ was the final challenge that was to be addressed by the designer. This became the first practical issue too in terms of completing the whole project and had no other option than to look outside our local market for the best solution, ‘As mentioned earlier, all other elements of the design were sourced locally with the help of water resistant materials coated with waterproof paint or lacquer. However, for all types of tops, Corian was used to fulfill the requirement. This wonderful material was an answer to all common and vital issues like heat, stain, and acid resistance; a re-touchable surface to omit marks, single surface finish without any joint, matte to lossy finish, ability to mold in any shape and finally an eco-friendly nature. Though this is an expensive material surely has the potential of satisfying an ‘architect’ client's extreme finickiness. Dealing with the colour ‘white’ is not a regular practice in our region. Maintaining white exterior or interior surfaces is one of the major issues in a context where post maintenance services are sd or ignored.Due to this particular reason coupled with some others including weather, water, dust and pollution, building owners here are apathetic towards using material finished with white surface. This practice becomes almost impossible when it boils down to residential interiors, especially with families full of ighly artistic kids! For ceilings white works, as remains out of random touches; for any other surface though, white is immensely avoided. As a result, our markets lack white fixtures, furniture and finishes. On the other hand, most of the Western countries extensively use the colour white to translate the spirit of purity, serenity and vastness in their architectural practice. They have a sufficient amount of ease in maintaining white materials and finished surfaces to suit their respective ideas. Here at home, this was the first and last hurdle we had to cross in manifesting our idea of ‘minimalism’ Ithas never been easy to break longstanding norms of a living, but we were also adamant to set new norms. ‘Why not white?’ was the quest to my fellow team members and this uncompromised expedition eventually led us to a solution which | modestly claim to be my resting place. Being an architect, | am not at all trying to establish the idea of using white lengthily in our contextual designs, but in my own humble way, | am trying to free myself from being handicapped in unveiling another side of contemporary global architecture.PORCELANOSA TILES KITCHENS BATHROOMS KRION WELCOME TO OUR NEW SHOWROOM NB Tower (Level 3 and 4), 40/7 North Avenue PORCELANOSA Gulshan 2,1212 Dhaka, Bangladesh ASSOCIATE Tel: 01793567404, 01705687195 ad . [Link] CI Nupami BD Ltdpee Rael a In Oneae of Baie ei Syed. Tareq Rahman Pe eer Ra eae eu mC sod eee ce cg eR Re SUE Creu eo Cd ‘everyday and used to think about my works to explore PCO og ket Coma ety DUC RRL CR a a ee Ge CU oat CO ‘emotionally. This is when, | first Intended to analyze See CR a ane Ld far they could express the subject. My works are Pac Re eats et ee ee a TT Me TP UCL MR coi) RCC eM not eck nace of the english word ‘machine’ and its synonyms and CMU ee ee “words. Not only the word ‘machine’, | also sought to __ explore the other words interrelated with this word,such as ‘electricity, ‘engine’, ‘computer’, ‘strong’, ‘speed’ etc. and thelr meanings and synonyms. What do we really understand by mechanized humans? Of course they are the modern-city-dwellers, who live a routine existence like machines. | went on thinking about the lifestyle of the city dwellers; their characteristics, behavior, way of life, objects they use etc. Mechanized people are terribly busy. The machines they use include ‘television’, ‘computer’, ‘mobile phone, ‘car, ‘air conditioner’ and so on. They use email, mobile, fax etc. as media of communication. The characteristics, 1 noted, as a result of the dependence on these and a wider dependence on machines are ~ ‘artificial sincerity’, ‘self-centered thoughts’, ‘calculation of profit and loss’ in all things, depression, hopelessness, boring life, lack of patience and less emotion. On the other hand, there is a lessening of physical strain, less loss of time, great development in communication systems, development in the mébical field but an increase in physical disease and dpcapacity, which means the diminishment of inner or natural powers and so on, In trying to understand the people of the mechanized Civilization, | thought of the lifestyle of those who do not live within mechanized civilization. such as the people of rural and remote areas. | found among agricultural economy as their main characteristics. They are also busy but in the routine of natural time, they have less mechanical facilities, they are emotional, simple, helpful to others in trouble, unified in attitude, hardworking, more physically fit, and sincere. ‘Ata certain stage of these analyses, | searched for the general differences in forms between cities and villages. At this point | decided that the differences could be presented through geometric and organic forms. Geometric forms could be the symbols of mechanized civilization because | generally saw the predominance of these forms in the cities. On the other hand, organic forms symbolizes nature although | knew that nature was not solely comprised of organic — a 404Transformation & 03 Indus of bod Sydnee Tard forms, because many things in nature have geometric forms in their details. | took the whole subject as an analogy and began to move forward. On one hand geometric forms symbolizes mechanized civilization while on the other hand people, nature, animals that is whatever Is generally considered natural was symbolize as organic forms and | started making sculptures with a synthesis of these forms. ‘After the works done for the first part of my Masters programme, | tried to go deeper into my subject in the second part. | was feeling that the subject could be better represented if the presentation was done in a different way. Not only through geometric and organic forms but differences in materials could also be a way to represent the subject. I did not want to be restricted any more, Besides, 1 also concentrated on communicative symbols. However, in some works | tried to present my subject solely through the expression of the human figure. | think my works of the second part are more capable of communication. | tried to study subjects related to my field in the Seine ae rejn the second part. As the field of my subject, | selected the machine dependent urbanization of the Industrial Revolution to the present age . Basically the Industrial Revolution was followed by rapid social, political, economic and cultural changes. My work at this stage showed a dominance of drawings. In my opinion, this helped in the strong presentation of my subject. Couple of years back when | was stuck in a traffic jam, the roadside poles and the countless tangles of telephone and electric wires struck my mind. The long wires stretched to the limit of the vision like endless sketchy drawings, in some places the round coils of wire were joined together in a complex way. This scene suddenly jolted me. It is a very common scene in Dhaka city, which | think identifies the incomprehensible mechanization of this age. It seems that the city is being symbolized with this Where underneath the pillars on the footpath live a kind of people of the city who have no addresses. | do not know exactly why, but these wires and these thoughts influenced the work | did in the Second Part. 03,perfection by design Arteghtural Hardware Kitchen Accessories Shower Fittings Furniture Fittings Many more... OUR BRANDS ; 4 © Bath Fitings From 0.32.5 GROHE —_——= 2 ) ~ © s 6 SON — Ss a. our SHOWROOMS 7 nm 4 5 woe panos pesonsoo ‘ HATIRFOOL J eriaeoot. HATIRPOOL GOLSHAN ga ettana s CHITAGONG YAHYA TOWER, 335 CDA AVENUE, MM ALI ROAD, LALKHAN BAZAR wariroot |S ULSHAN UTTARA CHITTAGONG “ fuuraes Suenaze ssobese7 Sinsrias beraasa 989888 Ssoesa10 91977-403317 ‘ sera he 6 ° e-mail: Info@[Link] Web : [Link] ee 10 0 5HAFELE WE MAKE THE DIFFERENCE FOR THE BUILDERS. Homebuyers wat to se bathroom tat stands out Give them something that meets their needs. BENGAL®A AGENCIES Originality Taste For Living. 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