Page 10 • Context BD

Echoes of the Estuary: A Tourism Center at Hatiya Dwip

World Environment Day 2026

Urban [Re]Stitch

Bridge School | CODEC

Posted on 13 May, 202327 October, 2024 by Saimum Kabir

| Notes from the Architect |

The context of education status in coastal Bangladesh is much more different than the other regions of Bangladesh. Access to formal education is very much constrained for the children of the coastal areas. In some of the remote and detached islands, formal education is as close as being non-existent. Due to frequent natural disasters, the regular classes are interrupted. Communication failure, reduction in family income, damaged school buildings are the key reasons for children not attending schools. Poverty is very dominant resulting in child labor, school drop-out, child marriage, and climate change induced migration.

The coastal areas are facing a higher rate of school drop-out in secondary education than other areas of Bangladesh. Dropout from school is higher in remote coastal areas due to different socio-economic and environmental reasons. Economic hardship, geographical isolation, insufficient secondary schools, lack of parents’ education, poor physical condition, lack of quality resources are the key barriers to ensure the quality of education in coastal areas. The school closures during COVID-19 pandemic even worsened the situation and resulted in an increase of school dropouts and child marriage.

To address this challenge, Community Development Centre – CODEC, supported by ERIKS Development Partner and Friendship as technical partner is implementing “Showpner Thikana” project in Mongla & Shoronkhola of Bagerhat and Rangabali of Patuakhali. The project aims to establish quality secondary educational services for dropout school children and bring them back to school.

We have already constructed eight bridge schools as a part of this project in Mongla, Shoronkhola & Rangabali where currently 341 out school children have been admitted to grade – 6 to continue their education. We are also working closely with the parents of the children so that their education is continued, and they do not fall victim to child marriage and child labor. Our bridge schools will provide educational services until grade-8 and afterwards, the children will be mainstreamed to government secondary schools where they will be able to complete their SSC examination.

The design process of the bridge schools started with community level participatory design development workshops where school dropout children, parents and community members were engaged actively. The aim of these workshops was to brainstorm and articulate the needs, ideas, and expectations of the key stakeholders to initiate the design process of the bridge schools. All sessions of the workshop were designed and facilitated to maximize the participation of all members attending the workshop. The workshop was organized in two phases. In the first phase, discussion and sharing were made about joyful learning, quality education, environment of education, health hygiene, access for PWD (Person with disability), disaster resilience and more. The participants proactively provided their ideas and feedback regarding these issues. The second phase was focused more on the initial design development of the bridge schools through drawings and model making. During this phase, the children drew sketches and made models to express their ideas and aspirations of their schools. All lands required to construct the schools were donated by the community members. Also, the location of the schools was selected by the community members, parents and children considering the proximity to their villages, access, and safety.

The final design reflects the needs, ideas, and expectations of the stakeholders, especially children. Two types of floor plans (L-Shape & Linear Shape) were developed to accommodate the schools to the available sites and incorporate the functional requirements. As the schools are constructed in highly cyclone prone areas, the structural system was designed with RCC members to provide the required rigidity. Steel framing was used for the roofing. Wooden panels are used for enclosures and windows. The windows are designed in such a way that they can provide an ample amount of natural light and ventilation in the classrooms but during cyclones the windows can be closed completely with ease. Bright colors selected by the children were used in the wooden panels which makes our schools very colorful, playful, and interesting for the children. Cross ventilation is ensured in all spaces with openings on different levels which helps to maintain climatic comfort for the children in the warm summer seasons.

In addition to providing secondary level education, the children of our schools are also engaged in different extra-curricular activities which makes our school very enjoyable for the children. The overall goal of this project is “Empowering school dropout students and communities of coastal areas through collective actions for a better future.” Through the establishment of these bridge schools are slowly by surely progressing towards achieving our goal.

Placemaking through Historic Urban Landscape Approach

Posted on 11 May, 202327 October, 2024 by Saimum Kabir

This design thesis seeks to investigate the potential for rejuvenating the identity of a German city, Chemnitz, through open-space design. Following the recommendations of the historic urban landscape (HUL) approach by UNESCO, the relationship between urban design and urban placemaking is explored. The thesis argues that preserving the traits and values associated with an urban public space’s history and collective memory can establish urban placemaking. The outcome of this design research is an open space design with the vision of making Chemnitz a cultural city realized through citizen involvement in shaping the place.

Historical layers of the city of Chemnitz© Abu Sayeed Mohammed Ziad

Chemnitz, the third largest city in Saxony, is a part of the central German metropolitan region and was selected as the European Capital of Culture 2025. The city’s history is an eventful one, which began in 1136. One of the most noticeable landmarks on the city skyline is the Schlossberg Castle. In the 19th century, Chemnitz prospered into one of the major centers of industrialized Germany, eventually becoming the most thriving city in the country. Between 1860 and 1915, the paramount green spaces in Chemnitz were created. A crucial green space was designed in the Ufer Park, which links Brückenstrasse, a vital street connecting the city center with the Schlossteich lake facilities, then Schlossberg terraces created by Karl Wienke and Schlossberg Castle. However, the incomplete and fragmented urban redevelopments and historical structures continue to present challenges for the city.

Chemnitz becoming the official European Capital of Culture in 2025, initiates fresh cultural starts and long-term urban development initiatives. Despite its rich cultural history, Chemnitz is a region that is often overlooked and receives little attention.

The urban development in Chemnitz is a conglomeration of different types of urban fabric from various eras throughout its history. Furthermore, Chemnitz has been dealing with the emergence of right wing movements and therefore the citizenry have been dealing with establishing a sense of identity related to the urban spaces of the city.

Proposed master plan © Abu Sayeed Mohammed Ziad

The project site is around 22 hectares and is situated north of the city center. It consists of a corridor of open space that runs from Brückenstrasse Street in the south through the Schlossteich lake area to the Schlossberg terraces in the north (Berlin.de, 2022). The selected site poses an opportunity to explore the possibilities to employ urban design to create a public open space that could manifest the city’s identity through traversing its historical urban development phases. Also, the site is deemed an important location to present programmes of the capital of culture year. The site is fragmented visually and spatially with a lack of coherent and contiguous urban development. This thesis will attempt to produce a design proposal through which these issues will be addressed.

Through a comprehensive analysis of the site, four key problems were identified. To address these problems and the main objective of the work, namely the creation of identity through place-making, the tools of the Historic Urban Landscape Approach recommended by UNESCO are used. The tools are applied to address the facets of urban placemaking described by Fürst (2010). A bridge can be built between the design and layout of an urban area, where the quality of life and human environment is paramount, using knowledge and planning tools. The Civic Engagement Tool addresses place-making by connecting people and culture in an urban area. It focuses on how people work together in a place to create functions and thus transform the space into a place.

The application of the different tools in the context of sustainable urban development thus makes it possible to use the HUL approach for the design of urban space. If we look a bit more into the proper application of these tools, we can link the HUL proposals to urban place-making.

Detail plan of Schlossberg terraces © Abu Sayeed Mohammed Ziad

Green Canvas in Schlossberg Terraces © Abu Sayeed Mohammed Ziad

A green canvas like landscape is provided in Schlossberg Terraces where the goal is to intervene minimally while providing a backdrop like lawn landscape for the heritage elements and Landscape planning of Karl Wienke to shine through. Chemnitz riverbank is redeveloped with terraced steps, known as “Ghat ” in Eastern cultures. This area promotes dialogue between the people as well as establishing spatial and visual relations. The lake is given the center stage and viewing decks and pleasant walkways to enjoy the lakefront are implemented in the design. The original planning philosophy of English landscape gardens is followed. The musikpavillon from the GDR era is reinvigorated by incorporating seating areas around it: with the goal of transforming it into a relic similar to the amphitheater – the cultural heart of the whole ensemble. The Promenadenstrasse between Schlossteichpark and Uferpark is redesigned as a shared space, promoting uninterrupted visual and spatial connection. This, in turn, develops a walkable neighborhood for the surrounding areas, whilst giving the visitors an opportunity to enjoy a stroll through the many layers of history in Chemnitz.

River Terraces, Chemnitz riverbank © Abu Sayeed Mohammed Ziad

Citizen’s park around Schlossteich lake © Abu Sayeed Mohammed Ziad

Schlossteichinsel Musik Pavilion © Abu Sayeed Mohammed Ziad

Detail plan of Brueckenstrasse Stub © Abu Sayeed Mohammed Ziad

The Promenadenstrasse, a Shared space © Abu Sayeed Mohammed Ziad

The design proposal attempts to transform the existing areas into democratic spaces. With the recent violent trends seen in Chemnitz, the need for areas is higher than ever where proper dialogue and exchange between different groups can occur. The design provides spaces that encourage community bonding, exchange and wellness of the citizens, thus, creating a platform for the inhabitants to transcend the borders and leave their imprint on the already rich identity of Chemnitz.

Transforming a Government Colony into a Block-based Housing

Posted on 3 May, 202327 October, 2024 by Saimum Kabir

The compound effects of plot-based development and low per-capita open spaces in Dhaka have led to an individualist society with reduced outdoor activities for its citizens. To counter this, the concept of block-based development, in which 50% of its open space is dedicated as community open space, has been introduced in the proposed Detailed Area Plan 2022-2035. This studio project explores the idea of block-based development by using the Government colony at Banani as a case. The guidelines of the proposed DAP 2022-2035 were followed in order to expand the city blocks vertically rather than horizontally. The intention was to transform the low-rise outdated government colony into a more livable, inclusive and interactive housing community, without compromising the green and open spaces.

Background

Plot-based development is the current practice of Land development to meet housing demands. But the practice is causing the landfill of flood plains, encroachment in agricultural lands, and unplanned expansion of residential blocks in suburban areas. The cost of infrastructural development is also high, compared to block-based development on the same amount of land.

In Dhaka, the plot-based development created an individualist society, and the lack of open spaces reduced outdoor activities for both young and adults. The parks and fields located in the planned residential areas are not adequate in proportion to the number of inhabitants of the neighborhood. Moreover, those open spaces are often restricted to the outsiders of the resident community, resulting in social discrimination and class division among adjacent neighborhoods.

The Detailed Area Plan 2022-2035 introduces the concept of Block based development which aims to encourage vertical rather than horizontal expansion of urban blocks, resulting in the protection of flood plains and agricultural lands surrounding the existing urban perimeter.

Block-based development has been proposed to have 50% of its open space dedicated as community open space, which will be shared with the adjacent community and cannot be enclosed by walls. The proposal might have positive impacts in terms of social mixing and increased outdoor activities among teenagers and young individuals. Government colonies, as recommended by the DAP, can be prospective redevelopment sites for block-based development that adheres to policy rules, spatial criteria, and density targets. Proposed Block based re-development will accommodate more people to meet the current demand while ensuring quality open spaces for a healthy living environment.

As an exercise in the Housing Design Studio (Studio VIII) of Fall 2022-23 semester at the Department of Architecture, the concept of block-based development has been introduced as an approach to re-think the Government colony at Banani in Dhaka city, following the given guidelines in the proposed DAP 2022-2035. The students have re-imagined the existing colony housing through the lens of block-based housing, considering social, environmental, cultural, and technical issues; while re-generating community interaction of the colony life, which is much different than in a plot-based housing community.

The site is currently inhabited by Government officers of different organizations, like Banks, Customs, Rajuk, PWD, etc. The average building height is 4 stories, having 2-4 units on each floor. Existing buildings are arranged in a staggered formation, to provide south exposure. The whole area has plenty of native trees in between the built forms. According to the current inhabitants, there is a lack of dedicated open spaces for kids, community gatherings, neighborhood interaction, and other outdoor activities, apart from Banani playground, which serves at a community level. The setback spaces around the buildings are unused lands and the buildings are accessed by paved driveways.

Analysis of existing condition © Shahira Sarwat, Munia Rahman, and Nida Sultana

Concept

While re-thinking this site for possible block-based development, the provision of dedicated open spaces, like, playgrounds, parks, and courtyards for all ages was prioritized. This will create memorable experiences while living there as a community, and re-generate the ‘colony life’ which used to be the most cherished memories of every kid and teenager who grew up there. The places were created to encourage more interactions among community members. Both territorial open spaces and shared open spaces were carefully considered and applied in the design decisions. Sky terraces and courts serve as territorial open spaces, while the central park and the field at the southeast serve as community open spaces. For healthy social mixing, different classes of units were composed in different clusters, while maintaining their territorial zoning and open spaces. Through the use of open spaces and parks with neighbors close to their living spaces, a unique experience of interaction has been generated in such colonies, which is barely present in plot-based housing. Sky terraces with the scope of a plantation have been provided to create a sense of belongingness, especially for kids who are more comfortable in their own space while also observing their social surroundings. This would result in them becoming sensible neighbors within a community of the same social strata. Target density has been achieved as per the mentioned figure in the proposed DAP 22-35, i.e. 200 People per acre for Banani area.

Master Plan

While developing the master plan, the hierarchy of open spaces has been considered with the highest priority. Every cluster of units is provided with courtyard-like open spaces, which are connected to the central park stretching from the south to the north end of the premise. The courts provide territorial open spaces for kids and teenagers, while the central park is a breathing space for all age groups of people. Especially, it will serve the adults and elderly, who needs to have morning and evening walks and social interaction with their neighbors. Large open space at south East has been kept as it is to serve the neighborhood community and not enclosed by the physical boundary, as suggested in the guidelines for block-based housing. In addition to considering the open spaces, several social amenities within walking distance have been layered in the master plan after dedicating the green and paved areas to create an equipped community.

Layering and development of master Plan © Shahira Sarwat, Munia Rahman, and Nida Sultana

Aerial view of proposed design © Shahira Sarwat, Munia Rahman, and Nida Sultana

Housing Units

Unit sizes range from 890 to 1900 S-ft to accommodate government officers of different classes. 890 S-ft units are providing accommodation for 3^rd and 4^th class employees which is 20% of the total number of units. Rests of the units are provided for 1^st and 2^nd class employees. All the units are designed to have at least 2 sides open so that occupants receive ample daylight and natural ventilation.

Cluster generation for social mixing © Shahira Sarwat, Munia Rahman and Nida Sultana

Clusters of Unit Type A (890 S-ft), Unit Type B (1550 S-ft), and Unit Type C (1900 S-ft) © Shahira Sarwat, Munia Rahman and Nida Sultana

The concept of block-based housing having high-rise towers and a compact living environment without compromising the green and open spaces might bring new challenges to the real estate development sector in Bangladesh. Through this practice, the students have learned to transform low-rise outdated government colonies into a more livable and interactive housing community.

From Spiritual to Touristic Experience: Rethinking Religious Tourism in Langalbandh

Posted on 28 April, 202321 January, 2025 by Saimum Kabir

This studio project envisions the historic holy site of Langalbandh, a well-known pilgrimage destination in Bangladesh for Sanatan (Hindu) believers. Every year, approximately 1-1.5 million Hindu devotees visit this place from all across Bangladesh, as well as India, Nepal, and Sri Lanka, to take a sacred bath in the Old Brahmaputra River and participate in other religious festivities. In order to make this holy occasion more convenient and secure, the project looks into a sustainable strategy for developing religious tourism in Langalbandh through the creation of new infrastructure.

Langalbandh is home to a number of ancient temples and hermitages as well as numerous bathing ghats built to make bathing easier for the pilgrims. Currently, the site has 13 ghats and 10 temples dedicated to various gods. The majority of the ghats are on the river’s west bank since they were erected with the Sun god, who rises in the east, in mind.

But due to years of neglect, the three-kilometer-long sacred site of Langalbandh’s infrastructure is now in poor shape. Every year, numerous mishaps occur during the celebration. According to the minutes of different inter-ministerial meetings, it is advised that this holy location be promoted as a tourism destination for its history, social values, and religious values by taking proper efforts to ensure that religious festivals are celebrated peacefully and safely.

The goal of this project is to safeguard Langalbandh’s cultural and historical significance while also striving to restore the local built and social environment. The proposed development strategy focuses on three areas:

Routes and accessibility:

Langalbandh Road became a pedestrian route during the festival. Visitors usually take the same route in and out, causing overcrowding and accidents during festivals. Furthermore, ghats are isolated by no connecting paths. A bypass lane connecting to the temple road is proposed to create a loop. A stand is designed at the connecting point for medium-sized vehicles. A riverside promenade is also planned connecting all the temples and ghats.

Proposed route and accessibility scheme © Dip Chandra Das

Proposed Langalbandh Road © Dip Chandra Das

Bathing ghats:

Existing ghats are in poor condition. The festival crowd has outgrown these ghats. Therefore, a ghat module with a plaza area and a change space to service a group of people has been proposed.

Section through ghat area © Dip Chandra DasAncillary facilities:

As many visitors come and stay here for a while, many temporary structures and shades are erected up during the event. Hence, new facilities like accommodation, health care center (Maternity center), craft market, multi-usable pavilion, restaurant and shop, public toilet and drinking water facilities, administration and parking are proposed.

The sacred site of Langalbandh plays a significant role in Bangladesh’s heritage. Due to the location’s historical and religious significance, a detailed master plan design and sustainable development of this place of worship are absolutely essential. If the development plan is effective, more pilgrims and tourists will visit the historic holy place all year round, providing a substantial boost to the local and national economies.

Collapsible multi-purpose structure © Dip Chandra Das

View from Brahmaputra River © Dip Chandra Das

Pulse of the Machine: Dhaka 2050 | Asad Hossen

Posted on 12 April, 202327 October, 2024 by Saimum Kabir

‘Cyberpunk’ cities are vast collages with strange and often shocking juxtapositions awaiting at every turn. The future folded into the past, and vice versa. Cities are like compost heaps with layers and layers of stuff. The vertigo of accelerating change, the dizzying spectacle of globalized media, the feeling of being drowned in consumer goods with barely a shelf life before obsolescence. Disjointed imagery always has the power because life is disjointed and we are. Cyberpunk transforms those jumble emotions into a place, where it’s no longer necessary to resist the splintering pressures of society because the fight is over and we lost. All that remains is to surrender to the carnival of sensations. There is a relief in that, even a feeling of oneness.

Think of the monologue Roy Batty delivers at the end of ‘Blade Runner’ (1982):

“𝘈𝘭𝘭 𝘵𝘩𝘰𝘴𝘦 𝘮𝘰𝘮𝘦𝘯𝘵𝘴 𝘸𝘪𝘭𝘭 𝘣𝘦 𝘭𝘰𝘴𝘵 𝘪𝘯 𝘵𝘪𝘮𝘦, 𝘭𝘪𝘬𝘦 𝘵𝘦𝘢𝘳𝘴 𝘪𝘯 𝘳𝘢𝘪𝘯.”

While there is angst in this line of thinking, there is also a blissful feeling of surrender. Voyaging through this strange sea of thoughts; part of me is calmed by my insignificance, by the teardrop of my life being lost in the downpour of time.

About the artist:

Asad Hossen is an architect, urbanist and graphic designer, currently working as an urban designer in a Shenzhen-based firm in China. He passed his B.Arch from BRAC University, Bangladesh, and completed his masters in Urban Design from the University of Hong Kong. From the beginning of his study in architecture, he has always been fascinated by architectural drawings and illustrations; constantly looking for inspiration from other artists. He tries to communicate as much as possible with his drawings. Drawings and illustrations are always therapeutic to him.

Follow Asad on Instagram: https://www.instagram.com/ide.o.gram/

Unigas Central Jame Mosque, Chittagong

Posted on 6 April, 202327 October, 2024 by Saimum Kabir

The site is located beside the seashore and a scenic view of the sea can be seen from the site. The mosque is 1 storied building with double-height space, which is approx. 22 feet, to give a feeling of openness, comfort, and spirituality. The lofty space helps to reduce noise and creates an open view of the outside which explores the combination of light and built form to create a spiritual experience. This place invites the surrounding context to weave through the mosque and tie up with the prayer environment. The Prayer Hall and Plaza Space together can accommodate approx. 500 people. Also, it has a small-scale residential facility for the Imam and the Khatib with all supporting amenities.

The main idea is to design an open and transparent space to keep in touch with nature within a basic form where people can find peace and relate themselves to their surroundings. Islam believes in peace and truthfulness. Hence, the white color is used to create a sense of openness and “peace”. Also, this color represents faith and happiness, innocence and purity.

Building masses are well integrated with the site’s current contours to maximize the monumental feeling in the hall interior and achieve low-profile service masses. For breaking the solidity of the dome, triangular shapes openings are introduced. The filtered light through the screen and openings give a spiritual ambience to the interior of the mosque as well as creates a visually isolated space for prayers.

Consultant: Innovate Engineering & Development

Architect: Sharmin Sultana Tithi

Design Team: Mazharul Islam, Rafiul al Mosaddeque, Hazzaz Miah, Abu Taher, Nur Khan, Rubel Hossain

Structural Engineer: Engr.Rana Masud

Construction Team: APL Construction LTD

From Extraction to Exploration: Transforming the Stone Quarry into a Visitor Center

Posted on 2 April, 202328 October, 2024 by Saimum Kabir

The project rethinks the abandoned stone-mine field of Bholagonj Ropeway area which lies on the foothill of Meghalayan-hills. The area now consists of 3 land chunks: 1. White Stone Zero Point (no intervention border area), 2. An Abandoned Ropeway Station Island (Site B) and 3. An Abandoned Quarry Brownfield with Ghat 10 (Site A). The proposal offers an engaging sightseeing experience by connecting these sites where visitors can reconnect with the industrial and geological heritage of the site as well as get aware of local and global issues. Guided through multiple destination points, visitors can have a memorable journey that reveals an untold story of the site.

Unique history and geography of Bholagonj ©Rubaiat Jannat

Historical narrative of Bholagonj © Rubaiat Jannat

Site evolution and spatial transformation narrative of Bholagonj Ropeway area © Rubaiat Jannat

Heritage trail of Bholagonj © Rubaiat Jannat

The journey begins with the Visitor Center located in an existing quarry pit. The next destination point is a stone-observatory cum amphitheater where visitors can see the variations in the stone deposit levels in the flood shed during different seasons. Ghat-10 will remind the visitors of the true local context of the site where boatmen act as custodians of the River Dholai. Visitors can also closely observe the Iron Towers of the Ropeway, a unique industrial heritage before they set out for the boat journey to explore site B. When visitors arrive at site B, they will be enthralled by the site’s industrial history. The abandoned ropeway is converted into a cable car route. The abandoned Ansar Camp (an old industrial building) is given public use by removing walls and exposing its frame structure. From here, visitors can take boats to reach their final destination, White Stone Zero Point to witness the last remaining vast sheet of exposed white sandstone layer.

Masterplan phase analysis © Rubaiat Jannat

Ground floor plan of the visitor center © Rubaiat Jannat

For landscaping, indigenous plants were given priority. Since most of the site is contaminated, phytoremediation with Vetiver (a local plant) is proposed. Different seasonal plants are used to respond to different water levels for productive landscapes and afforestation for lost riparian bio-diversity regeneration at the final stage. Thus, site A will act like a geo-tourism park, and site B as an island park positively responding to the river.

Concrete is used as a core building material to keep the industrial traces alive and for earth-quack resistance. Since the master plan focuses on a horizontal journey immersed in the landscape, the proposed Visitor Centre, the only and main built intervention in the master plan, focuses on vertical movement. In the museum section, different exhibition galleries of the material evolution are placed at different levels of the existing quarry pit within which the building embeds itself. Tunnels and sky-lit sunken galleries provide a metaphorical experience of moving within a dark stone mine. Visiting them, tourists can learn about the reckless consumption of natural resources (stones, sand, etc.) for the industrial production of concrete, glass, etc. which pose a great threat to natural systems. The other programs include an entrance shed, café, tourist accommodation, etc.

Concrete & Stone Gallery © Rubaiat Jannat

The building is off-grid, solar-run and has a submerged organic waste treatment plant producing fertilizers that can be reused for the park vegetation. In conclusion, the project brings an abandoned quarry back from the brink of oblivion, tells the heinous tale of resource extraction, and reconnects tourists with natural phenomena and splendour.

Creative Kids: An Accessible Inclusive Indoor Playground

Posted on 23 March, 20234 December, 2024 by Trikon Architects

Panthapath, a vibrant urban center in Dhaka, is a mixed-use district surrounded by major residential areas containing half the required open space for residents. The lack of open spaces essential for children’s healthy social development prompted the creation of an accessible, inclusive indoor playground ‘Creative Kids’. This indoor facility is designed by Trikon Architects in collaboration with Child Psychologists, clients, and potential user groups to promote intellectual, psychomotor and cognitive development in children. – Editor

An accessible inclusive playground provides engaging and meaningful play opportunities for all children regardless of abilities. It fosters children’s social interactions and cognitive growth. It also celebrates diversity by ensuring everyone can participate in playground activities. It allows children of all developmental stages to enjoy the same play area on their own terms, addressing their own comfort and enjoyment requirements.

Floor plan of Creative Kids © Trikon Architects

The design concept of Creative Kids is underpinned by research findings on children’s psychological, social, and behavioural appearance. The design is derived from the notion of creating an accessible and friendly space for children as well as a center for interaction with their community. A set of activities have been designed as a series of stories that offer children to recreate their own narratives. The activity spaces provide an intriguing playing environment that will aid in the creative and intellectual abilities of the children.

A commercial building in Panthapath has been repurposed as an indoor playground. The play area includes several child-friendly interactive spaces on multiple levels. It encourages interactions between kids irrespective of their age, gender, or classification. Different zones tell different stories accommodated in a free-flowing space that allows universal access to most of the activity areas. Services like lockers, toilets, and learning resources are textured with graffiti that also promotes global learning and is inclusively accessible.

The spatial connectedness in design is well articulated and related to many zones that emerge fluidly from one another. The whole play zone has been built with a thematic narrative and adopts a rich and bold color combination to create a vibrant and playful space. For example, there is a double-decker playbus that allows nine kids together to meet and learn socialization by interacting on an intimate scale. Facilities for visitors like a traditional café are placed in a central location for allowing individuals to watch over the activities across the floor. Accessibility of the kid’s zone allows guardians to stay around and assist the children in developing many cognitive skills, while also interacting with the people of their community.

Creative Kids offers a child an array of possibilities to explore. The indoor space overlooking the city allows sufficient natural light and minimizes energy consumption during the day. Here children and their parents perform together to build strong social bonds. The activity spaces ensure safety, accessibility and inclusivity to grow and learn together.

Team Profile:

Office Name: Trikon Architects

Lead Architect: Shafique Rahman

Design Team: Shanila Saifullah, Niaz Morshed, Anannya Rahman , Rakib Patwary , Mashkura Chowdhury

Graffiti Artist: Sharmin shormi, M.a.Akbor, Shahzim Hossain Riaz , Humayun Ahmed , Al Imran Sojol, Fazar, Sohag sg

Photographer : Junaid Hasan Pranto

Office Website: www.trikonarchitects.com

Social Media Accounts: www.facebook.com/trikon2009

Contact email: studio@trikonarchitects.com

Design and Make Installation: Brick-Mortar Poetry | CUET

Posted on 9 February, 202328 October, 2024 by Saimum Kabir

Hands-on-training is an integral part of CUET’s second-year design studio program. When the Covid-19 restriction was lifted at the end of December 2021, students of level-1, term-2 were asked to design and build five installations in the abandoned garden at the entrance of a student dormitory (Bangabandhu Hall), CUET. The project was a collaboration between the department and the Hall Authority. The studio was supervised by asst. professor Amit Imtiaz and lecturer Rahanat Ara Jafar. Students were instructed to use bricks from the nearby brick fields in a different category so that they could learn how to use of different bricks and prices. Students surveyed the market for various construction materials such as cement, rods, wires, formwork lumber, polythene, and many types of construction equipment. Each group designed a project and built it with the help of local masons. Each group designed a project and built it with the help of local masons. Students came up with ideas of collective memories, so that users could be liberated from the long suffocation of the closed world inside their homes caused by Covid, and users could have a place to breathe and connect.

From the designers:

Ashon (Seating) © Dept. of Architecture, CUET

Project 1: Ashon (Seating)

[Mantaka Junnurain Adrito (1906007); Zarin Tahsin Tanha (1906011); Zarin Tasnim Rodoshi (1906014); Swarna Banik Papiya (1906020)and Pratham Chakraborty (1906026) ]

Happiness comes with creation. The power of happiness merges with creative thinking. This project represents almost the same experience to us. This project provides the users with a floating sensation over a layer of green grass. People can sit with their friends and can enjoy the lovely waterscape right beside the site. People can lie down on the slab, can feel the enormity of the sky, or enjoy rain during monsoon. When we first looked over the site, the dead log among the scraps caught our eyes. We wanted to create something that would immediately draw attention to it. Thus, to complement its curvature structure, we devised the form of the plate. At first glance, it appears to be a thick slab due to its design. An interesting fact is that there is a Yellow-mombin tree right next to it, which changes its colour in different seasons. During winter, leaves fall from the tree, making the place more sublime for the context.

Project 2: The Curve

[Nilysha Islam(1906006); Md. Inzamam-Ul-Hoque (1906005); Sunandita Biswas (1906009); Abdul Aziz Roni(1906013); Farhana Rahman Upoma (1906017); Sharmistha Roy (1906027)]

When we first went to the site, we were puzzled, as there were trees around the site. These trees created an invisible boundary around our site. Also, they formed an essence of space inside and we weren’t being able to figure out a suitable place for our seating arrangement. Suddenly we noticed some white butterflies and their movement trajectories. Right then and there, we decided to design a curve line. The pathway seems inclined with nature and the trees were just accommodated with the design. The line starts from the ground and slowly ends at the ground. There are two layers in the construction, a brick fabrication from the ground, and the top layer is made of concrete cement with Sylheti sand to produce a tactile surface. Users can use it as a seating, and meeting place.

Arongo (A place for stories) © Dept. of Architecture, CUET

Project 3: Arongo (A place for stories)

[Diptiman Das (1906001); Ahnaf Mandy Akib (1906002); Anindita Das(1906010); Sumaiya Nafees Rafa (1906015); Humaira Tasnim (1906018); Sirajum Munira (1906021)]

Our site overlooked a beautiful pond and was shaded by the canopy of some guardian trees. The idea was to design a serene space that offers an escape from the intense academic rush. On a beautiful morning or a lonely night, one can simply sit back and relax amongst the tapestry of natural surroundings. Afternoons and evenings here are full of life, when our “Arongo” resonates with the gossip of friends, reverberates the music they play, and becomes as vibrant as the laughter of all these happy people. The first challenge of the construction phase was to retain the natural slope of the site. We planned to install brick footing deep in the soil that will hold our reinforced concrete slabs in place. First excavating the soil, a brick foundation was laid. Three individual brick boxes were made and filled with soil. Precast concrete slabs were put over to seal the brick boxes. Interacting and communicating with construction workers was a challenging experience for us. Making them understand the design, instructing them, all demanded the collective effort of the whole team. We shared hands with the workers, carried bricks, laid mortars, and cleaned joints to speed things up and get a first-hand experience of construction.

Obak Bhromon (Muted Journey) © Dept. of Architecture, CUET

Project 4: Obak Bhromon (Muted Journey)

[Fairuz Ananti (1906003); Nazifa Anjum (1906008); Tasnim Binte Ahsan (1906019); Hasibul Hasan Abir (1906022); Fardin Hasan (1906025)]

Our installation project emanates a story of experiencing static and moving pleasure at the same time. The motto was to create a distinctive atmosphere generated by lines in a 20’x20’ sqft space. The linear composition got originated following the Emblica and palm trees regulating spatial organization and continuity. Users can experience the space at different heights with a flexible path-space relationship. The composition interconnects people with three different zones- providing a feeling of a journey. The installation can work as a circulation from the hall entrance road to the garden. People can enjoy the path or can have a chat with fellow students residing in the hall. Multi-layered seating has been accommodated here with the installation.

Goyna (Ornament) © Dept. of Architecture, CUET

Project 5: Goyna (Ornament)

[Anika Tahsin (1906012); Mahima Islam (1906016); Mahmudul Hasan Tamim (1906024); Afra Sania Khan (1906028); Md. Mahidul Islam Mahi (1906029); Nasrat Nur (1906030)]

The centre of a circle has a great ability to draw attention in one direction. Therefore, the circular seating arrangement was designed as a meeting point for many people, a gathering place where people can chat, sing together and enjoy a concentric space. The bricks were laid one by one, keeping human ergonomics in mind. To drain excess water, the pavement is lined with green strips.

Archeological illustrations of Bengal Artefacts

Posted on 4 February, 202328 October, 2024 by Saimum Kabir

The artifacts, we commonly refer to as ancient Bengal art, were carved during the Pala period of the thirteenth century. Pala sculpture derives its origin from the late Gupta style but later on deviated from it. One of the main reasons for this deviation was the fusion of classical mannerisms with the indigenous style of Bengal. The mixed style that was an experiment in the mid-7th century continued through the 8th century and culminated in a specialized idiom of art in the 9th century.

Plate 1: Reconstruction of Skanda found from ‘Skander dhap’, Mahasthangarh © Anupam Saha /CONTEXT

Plate -1, The life-size red-stone torso of the Kushan period (Mathura School of Art) in the Asutosh Museum Calcutta from Skanda-dhap locality of Mahasthan (Bogra) shows the 2-handed god, standing in abhanga with a long staff in his left hand. This sculpture is made according to Brihatsamhita. The Brihatsamhita, supplies one of the earliest iconographic descriptions of the 2- armed Kartikeya where he is named Skanda. The right hand is damaged near the shoulder, a part of the palm being broken, still enough remains to be seen that it was in abhaya Similarly, the tip of the staff is also broken, but that it was a spear (sakti) can easily be imagined. The legs are broken from beneath the knee. Its identification as Kartikeya is though not without doubt, the emblem of sakti and the name of the find-place (Skanda-dhap) along with Kalhana’s mention of a temple of Skanda-Karttikeya at the same place, are strong points for its identification. According to Kalhana’s Rajatarangini, this idol was the witness of King Jayapida and Kamaladevi’s love story.

Plate 2 Three deities (5th century AD) © Anupam Saha / CONTEXT

Plate-2, is a rectangular plaque (5th century AD). It’s the earliest representation of three deities of the Gupta period granting luck and prosperity. The left corner is Slightly damaged. All deities are seated and two armed. Most probably, the central figure is the Main deity, because a flat is placed under her feet. The left figure is Lord Ganesh. Here he is two-armed. His right hand is missing. Ganesh is two armed in Gupta period. In our relief Ganesh sits in an easy pose (lalita asana or sukha-asana) on a stool-like object. No rat is shown with him. He wears a lower garment and a snake (naga upavita). The hair is shown with circular buns. The second and central female figure is an extraordinary creation in the terracotta art of Bengal. It’s the image of Abhisheka Lakshmi or Gaja Lakshmi. Her two legs resting on the lotus. In her right hand, she has a round fruit. In her left hand, she holding a lotus type flower. She wears a Skirt the folds of which are marked with lines. The two small elephants are standing on a pedestal. She wears single-beaded necklace, circular ear rings, bangles and armlets which are quite typical for Gupta period. Her hair- style is also typical 2 for the Gupta period. On each side, there is a beehive-like arrangement of hair, and in the middle, simple plaited hair buns. The extreme right and third male figure is the image of Lord Kubera. He sits in lalitasana pose. He wears a short lower garment, single bead necklace and ekakundalin (one having only one earring). In his right hand, he holding a circular flat object. It may be a large coin or a jewel. This artefact is now in Bangladesh National Museum.

Plate-3: Hardhanubhanga, (Gupta Period ) © Anupam Saha / CONTEXT

Plate-3 shows an excellent terracotta plaque. It’s depicted a very important scene of Ramayana ‘Hardhanubhanga’. This is a very magnificent figure of Rama and also an excellent example of Bengal terracotta art. This plaque shows, Rama is mastering the huge bow, which lies broken, to win Sita as his wife in swayamvar. The central figure is the image of Sage Vishwamitra who admires Rama’s deeds by putting his right hand over his shoulder. The extreme right figure is Lakhsmana. He watches with wonder standing close by. This artefact is now in Bangladesh National Museum.

Plate 4: Vishnu (Gupta Period: 6th AD to 7th century AD). © Anupam Saha / CONTEXT

Plate-4, This image of Vishnu (6th AD to 7th century AD) is really a masterpiece of Bengal found in Rajakpur, Bogura near Mahasthangarh. This idol is standing in Tribhanga pose. The deity stands on a plain pedestal. his left leg is slightly apart from the right one. This time his two weapons (ayudhas), gada and cakra, have been personified; his lower right-hand touches the knob, which is the head of the Gada-devī who stands in a graceful position facing the lord with folded hands. The god’s lower left-hand touches the rim of the large disk (cakra), the Cakrapuruşa standing with crossed arms on his chest. The deity wears a different type of tiara-like crown with a disk in the middle showing the head of a lion with two pearl strings coming out of it (kirtimukha?). His large ears are damaged, but the ear-stud of the right ear can be seen.

Plate-5: Shiva drinking poison (5th to 6th century) © Anupam Saha / CONTEXT

Plate-5, This beautiful relief sculpture tells the tale of Shiva drinking poison. This sculpture is rarely seen across India. This masterpiece was made in the 5th to 6th century and is found in Sompur Mahavihara complex. Shiva is standing in Tribhanga pose. He wears a short drawer-like lower garment (paridhana) tied with a cord. Probably middle figure is seen as goddess Parvati. Ganas of Shiva is also seen in this panel.

Plate-6, The idol of Vishnu (early 9th century AD) © Anupam Saha / CONTEXT

Vishnu rests his lower right hand on Chakrapurusha, the personification of his war discus, the chakra. His lower left-hand rests on the head of Gadadevi, the female personificaiton of his mace. Vishnu standing in Abhanga pose. This bronze sculpture was found in Bihar, and made in the early 9th century. The four-armed deity stands in the prescribed samapada position on a lotusbase, holding in his upper right hand a round object with a pointed element in the middle and a conch (Sankha) with the spiral below in the upper left hand. The deity wears a diadem tied with circular knots and flying ribbons on both sides. He has similar 3 ear-studs. In this idol Yajnopavita as far as the navel and Vanamala down to the level of the knees also seen. This idol is now in the Metropolitan Museum of Art, New York.

Plate-7: God accompanied by Pingala and Dandi (9th century AD). © Anupam Saha / CONTEXT

Plate-7, The bronze image from Bengal in the Metropolitan Museum of Art (New York) of c. 9th century AD. shows the god accompanied by Pingala and Dandi. Probably, that period’s Surya idols were influenced by Brihatsamhita. The diadem on the head has three elements: the central one is large and has jewels in the middle. The diadem is tied to the head and the knots are visible. The eyes are wide open with large, bow-shaped eye-brows. The deity wears kundala in each ear, which is visible in front of the rolled hair-locks. There is a circular prabha behind the head. He wears a beaded necklace (ekavali), but surprisingly there is no upavita. He wears a dhuti which clings between his legs and curls towards the pedestal like a twisted rope.

Plate -8: Buddha Sakyamuni (11th century AD). © Anupam Saha / CONTEXT

Plate -8, This Buddha Sakyamuni (11th century AD) from Kurkihar is the scene where Buddha is seen at the moment of enlightenment, with his right hand reaching down to touch the earth, bearing witness to his past refined and meritorious actions, including those in countless past lives that brought him to this point of ultimate realization. The Buddha sits in a yogic posture, deep in meditation. His enlightenment allowed him not only to realize, but also to teach, the Four Noble Truths, as stated in the inscription on his lotus throne. Of all dispositions proceeding from a cause The Tathagata [Buddha] has explained the cause and he has explained their cessation also This is the doctrine of the great Shramana [the great ascetic or meditator—the Buddha]. This sculpture is now in Baroda Museum and Picture Gallery Gujarat.

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