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এই চিঠিতে লেখক তার দাদার বাড়ি, আশেপাশের পরিবেশ এবং সেখানে কাটানো শৈশবের স্মরণীয় মুহূর্তগুলি আবেগঘন বর্ণনা করেছেন। চাঁপাইনবাবগঞ্জ-এর দুর্লভপুরে অবস্থিত এই বসতবাড়িটি  ঐতিহাসিক এবং পারিবারিক স্মৃতি বিজড়িত। বাড়ির কাছের ২৫০ বছরের পুরনো তিন গম্বুজ বিশিষ্ট মুঘল মসজিদ, উঠানের চারপাশে কক্ষগুলির বিন্যাস, কলতলা, অতিথিশালা থেকে শুরু করে পুকুরের ধারে অবস্থিত ঝুল বারান্দা – এই বিশদ বিবরণ দ্বিতল বাড়িটিকে জীবন্ত করে তুলেছে।  যদিও পুরানো কাঠামোটি অবশেষে ভেঙে ফেলা হয়েছিল, তবুও ১০০ বছরের পুরনো ইট দিয়ে নির্মিত নতুন বাড়িটি যেন পূনর্জীবন পেয়েছে। এই চিঠিটি কেবল বর্ণনার চেয়েও বেশি কিছু; এটি ভবিষ্যত প্রজন্মকে  তাদের শিকড়ের সাথে যুক্ত করার একটি আবেগপূর্ণ আবেদন। – Editor

মূল চিঠি:

প্রিয় সানদীদ,

এই মূহুর্তে আমি যে জায়গাটা নিয়ে তোমাকে চিঠি লিখছি, তা হলো আমার দাদাবাড়ি, মানে তোমার বড় আব্বার ভিটেবাড়ি যা তোমারও আপন আলয় বটে। শিকড় বলতে পারো। তুমি অনেকবারই ওইখানে গেছো। তবুও, আমি আশা করি, অনেক দিন পর যখন তুমি এবং তোমার সন্তানরা এই চিঠিটি পড়বে, তখন আমাদের পুরনো বসতবাড়িটি দেখার তীব্র ইচ্ছা জাগবে।

শুধুই আমবাগান আর আমবাগানের ছায়া ঘেরা শীতল ও শান্ত গ্রাম হলো দূর্লভপুর। শিবগঞ্জ থেকে প্রায় ২৫ কিঃমি দুরত্বে এই ছায়াঘেরা চিত্রবৎ গ্রামটি। একটি লোহার বেইলী ব্রীজও আছে সেই গ্রামে যাওয়ার সময়। নদীর নাম মহানন্দা যা গঙ্গা ও পদ্মার শাখা। গ্রামে ঢুকতেই প্রথমে নজরে আসে একটি বাজার। বাজার পেরিয়ে পুসকুনি আর মাটির বাড়ির মনোরম দৃশ্য দেখতে দেখতেই পৌছে যাই আমার দাদার বাড়ি তথা তোমার চিরসত্য ভিটা। প্রধান রাস্তা থেকে উঁচু একটা টিলার ন্যায় ভূমিতে তোমার শিকড় – আমাদের বাড়ির অবস্থান। উঁচু জায়গাটিতে উঠতে উঠতেই তোমার চোখে পড়বে বামদিকে প্রায় ২৫০ বছরের পুরোনো তিন গম্বুজ সহ মোগল মসজিদ। একটি বড় কদম গাছ আর ঠিক কদম গাছের পেছনেই আমাদের বসতবাড়ি। বাড়ির উঠানের চারপাশের ঘরগুলোর ব্যবহারে ভিন্নতা ছিল। একটি খাওয়ার ঘর তারপাশে অতিথিশালা, রান্নারঘর,কলতলা ও একটি সম্ভবত স্টোর হবে। দ্বিতল ভবনে নিচতলা সামনে কাচারি ঘর ও তার পশ্চিমপাশে সিড়িঘর, পেছনে একটি খিলান দরজা আছে বাগান এর দিকে ও গোয়াল ঘরের দিকে যাওয়ার জন্য।

দোতলায় উঠলে তিনটি ঘরসহ বারান্দা। আলো বাতাস পরিপুর্ণ সবকটি ঘর। দক্ষিনের দরজা দিয়ে ঝুলন্ত বারান্দায় আসলে পুকুরটা সুন্দর দেখা যেত। সিড়িঘরের একপাশে একটি ছাদ ছিল যেখানটায় বসে আমরা অনেক রাত পর্যন্ত গল্প করতাম।

আমরা সবাই যখন একসাথে দুর্লভপুর বেড়াতে যেতাম সে ছিল এক খুশির সময়! সবাই মিলে গল্প হাসাহাসি, ছাদে বসে ভূতের গল্প আর হারিকেনের আলোয় গল্প শুনতে শুনতে অক্ষিগোলক ডিম্বাকার হয়ে যাওয়ার সে মূহুর্ত। আহা সে এক সময় বটে।

কড়ি বর্গার ছাদের দিকে তাকিয়ে চিন্তা করতাম কেন এমন ছাদ ? আজতো সবই বুঝি।

ছোট একটা উঠানে সবাই বসে সকালে মুড়ি মুড়কি, গুড় আর চা এর আসর বসতো। উঠানে খাটিয়া বিছানো থাকতো, শীতকালে রোদ পোহানো ছিল আমাদের অলস সময় পার করার জন্য অসধারন এক জায়গা। গ্রামের সকলে আসতো আমাদের সাথে দেখা করার জন্য, ওই উঠানে।  উঠানের একপাশে  আঁধিয়ার কালাই ডাল কাপড়ের উপরে বিছিয়ে যাঁতা দিয়ে  পিষত, অবাক হয়ে তাকিয়ে থাকতাম! একটু আড়ালে আমাদের দাদা বাড়ির হেঁসেল ঘর, মানে রান্নাঘর ছিল। ছোট্ট একটা উঠানও ছিল তার সাথে। রান্নাঘরের ডান ধার ঘেঁষে আর একটি ছোট দালান ছিল, ওখানেও থাকার ঘর ছিল। জ্বালানী কাঠ রাখার জন্য একটা জায়গা ছিল, ওইদিক দিয়ে পাশের রাস্তার সাথে সংযোগ গেট, ছোট দরজা ছিল আসার জন্য।

সবচেয়ে গা ছিমছিম করতো রাতে টয়লেট করতে গেলে, কারণ ওটা একটু পেছনে আলাদা কলতলার সাথে ছিল। মনে হতো অন্য এক ভুতুড়ে জায়গায় চলে এসেছি।

জানো? আমাদের ওখানে একটা কুয়াও ছিল। মাথা নিচু করে কুয়ার পানিতে তাকালে অস্পষ্ট প্রতিবিম্ব দেখতাম, মনে হতো অন্য কেউ। কাকের চোখের মত কাল চকচকে সেই কুয়ার পানি। ওই জায়গাটা আমারা সকলের কাছে একটা মিস্ট্রি।

অনেকগুলো ঘর অতিথিদের থাকার জন্য ছিল। আসলে এক সময় আমাদের একান্নবর্তী পরিবার ছিল তো,  তাই বলতে পারো, বাড়িটি  এক প্রকার লজিং এর মতই ছিল, আত্মীয় স্বজনে এসে থাকতো, নানান প্রয়োজনে…।

দক্ষিনে ছিল স্কুল ঘর, লম্বা একটা ব্রিটিশ আমলের ভবন─ বেশ উচু ছিল ওটা । আজ ধ্বংসপ্রাপ্ত। পতিত।

পশ্চিমে, পুস্কুনিতে যেতে একটা দেউরী ছিল, মোটা একটা দেয়াল উত্তর-দক্ষিন বরাবর অনেকদূর পর্যন্ত চলে গিয়েছিলো, মনেমনে প্রশ্ন জাগত, এ ক্যামন দেয়াল???, বড় হয়ে বুঝেছি ওটা মোগল আমলের একটা সীমানা দেয়াল বা অন্নকিছু ছিল। অনেক জঙ্গলে ভরা ওই পুস্কুনির পাড়টা। প্রাচীন দেয়ালটার ইটগুলো অনেক চিকন। ঠিক বিস্কুটের মত। আজ তার কোন হদিস নাই। পুকুরে পানিও শুকিয়ে গেছে।

খড়খড়ি জানালা ও দরজা গুলো ছিলো গাড় সবুজ রঙের , আমাদের দাদা বাড়ির ঠিক সামনের বাজারের পাশে একটা পুরনো ঈদগাহ ছিল। ঈদগাহ পেরোলে বিশাল ফাঁকা একটা মাঠ, তা সে অনেক বড়। আমরা খেলাধুলা করতাম সেখানে , যতদুর মনে পড়ে মাঠের শেষে সম্ভবত মহানন্দা নদী বয়ে যেত।

এতকিছু এত ঘটনাবহুল আমাদের দাদাবাড়ি আজ বড়ই একাকী। পুরনো দ্বিতল বাড়িটি বয়সের কারনে হেলে যাওয়াতে আমরা আর ঐখানে বাস করতাম না। ব্যাপক অবস্থায় হেলে যাওয়ার কারনে আমরা সবাই মিলে সিদ্ধান্ত নিলাম ভবনটিকে ভেঙে ফেলতে হবে। দিনে দিনে ভবনটি ধ্বংসাবশেষে পরিণত হল। কিন্তু কি করবো? সকল স্মৃতি ধুলোয় মিটিয়ে দিবো? কি করা যায় ?

ভবনের ৭০ ভাগ ইট, যা ১০০ বছরেরও পুরনো, আমরা ঐ স্থানে নতুন স্থাপনা বুননে  ব্যবহার করলাম। ঐতিহ্যের ঐ সকল ইট দিয়ে পুরনো সময়কে ধরে রাখার জন্য একপ্রকার প্রয়াস চালানো হয়। নতুন দ্বিতল স্থাপনায় ১০০ বছরের সেই ইটগুলো ব্যবহার করে তুললাম আমরা নতুন ভবনটি। দ্বিতল ভবনটিতে আমাদের রঙিন অতীতের সকল স্মৃতিগুলোকে বুননের সাথে আবৃত করে রেখেছে । অনেক মায়ার সকল পারিবারিক আখ্যান দ্বারা আবৃত আছে আমাদের নতুন ভবন ও তার পরিসরটি লোহা ও কাঠ সব ধরনের পুরনো সামগ্রীগুলোকে পুনব্যবহার করে আমরা স্মৃতির সকল ঘটনাগুলোকে  বেধে রেখেছি আমাদের এই নব আঙ্গিনায়।

কিন্তু, রেখাচিত্রে আমাদের প্রাচীন বসতের সকল নকশা আর স্কেচ তোমার জন্য তৈরি করলাম। তুমি ধারন করো আমাদের ওই শৈশব, চেষ্টা করো অনুভব করতে, কারণ আমি তোমাকে আমাদের শৈশবের মত পরিবেশ – পরিসর কিছুই দিতে পারিনাই। ঢাকা শহরে ওগুলো আসলেই দুর্লভ। তুমি সময় পেলে চেষ্টা করো দুর্লভপুরে গিয়ে থাকতে, নিশ্চয়ই শুনতে পাবে আমাদের শৈশবের হাতছানি, আমি হয়তো এখন অনেক দূরে, কিন্তু অনেক কাছে পাবে হয়তো আমাদের সব্বাইকে ওখানে।

বাবা সানদীদ, আশা করি, তুমিও তোমার বংশধরদের বহমান এই ঐতিহ্যের বন্ধনের কাহিনী জানাবে।

সবসময় ভাল থেকো।

ইতি,

আব্বু

_____________________________

সাধারণ তথ্য

প্রেরকঃ সাজিদ বিন দোজা

বাড়ির অবস্থান: দূর্লভপুর, কানসাট, শিবগঞ্জ, চাঁপাইনবাবগঞ্জ।

পূর্বপুরুষের তথ্য:

উকিল বাড়ি

অ্যাডভোকেট মোহাম্মদ ইলিয়াস (দাদা)

অ্যাডভোকেট মোঃ বদরুদ দোজা (বাবা)

সাজিদ বিন দোজা (ছেলে)

সানদীদ রুখসাদ দোজা (উত্তরসুরি)

নির্মাণকাল:  ১৯০৫-০৭ খ্রিঃ

Illustration by : Sajid Bin Doza
Illustration by: Sajid Bin Doza | © CONTEXT
Illustration by: Musarrat Salsabil Chowdhury Aorchita | © CONTEXT

 

 

English version | Translated by Noshin Tuba

Dear Sandid,

As I write this letter right now, there is this place in my mind – that is as much yours as it is mine. It is your grandfather’s ancestral home – you can also call it the root, from which we both sprouted. You have been there so many times already, although I hope that when you, and your offsprings read this letter – maybe decades from now, they feel a quite pull to walk onto its soil.

Durlavpur. A tiny village wrapped in the shade of mango trees, calm and serene. The village is about 25 kilometers from Shibganj. You get to cross a narrow iron Bailey bridge, over the river named Mahananda, sweet river child of the Ganges and the Padma. You enter the village through a small bazar – and then you walk through the path past ponds and mud houses until you arrive home – standing on a rise of land amongst the green. Before the house, to the left, stands the 250-year-old Mughal mosque with three domes, weathered but still breathing. The courtyard is behind the large Kadam tree – edges defined by rooms – a dining, a guest room, a kitchen, a bathing area with a tubewell, and another one, which might be the storage. The lower floor of this two storied house held the Kachari room, a staircase tucked on the west, and an arched doorway that led towards the garden and the cattle.

Upstairs, there are three rooms opened onto a varanda – all with plenty of sunlight and air. You could see the pond from the south facing varanda. And there was this rooftop right along with the stairs – we used to sit there right under the sky and stay up till late night altogether.

It was a great joy for all of us to visit Durlavpur together. We would gather on the rooftop, our eyes growing round as we told ghost stories, the dim glow of the hurricane lamp flickering in our pupils. Those were the days.

I would look up at the Kori borga (roof with wooden rafters and purlins) ceiling back then and wonder why it was built that way. Today, though, I know why.

There was a small courtyard, and mornings were lazy. We’d sit in that courtyard with puffed rice, molasses, and tea. A bed would be dragged out into the sunlight in the winter mornings, and we’d sink into its warmth. Neighbours would wander in, and women would lay out lentils on cloths, grinding them with a Jata (kind of grinding stone). A sight to look at that was. A short distance away stood my grandparents’ kitchen. Behind it lay a small courtyard, and beyond that, a smaller building. This building held a few more rooms, one of which was used to store firewood. A side gate opened towards a narrow road to enter the storage.

And somewhere near the edge of things were the toilet – far enough to make the walk at night spooky, scary, feeling like moving towards another, stranger world.

Do you know, we even had a well in that house. While you lean over and look into the water, your reflection would shimmer, shift, and become someone else – that person underneath was maybe you, or maybe not. The water was as black as a crow’s eye. That place was a total mystery to all of us.

The house had many rooms for guests, because it was once a home for a joint family – the kind where no one was ever truly alone.

To the south stood a tall British-era school building, now only a broken memory.

There was this road to the west to the pond, and a thick wall ran a long way north-south.  What kind of wall was that? I wondered! I grew up to know that it was a boundary wall or something from the Mughal period. The banks of that pond were full of forests. The bricks of the ancient wall were very thin, just like biscuits. Today, there is no trace of it. The water in the pond has dried up.

The shuttered windows and doors were all painted dark green. There was an old Eidgah right in front of our grandfather’s house next to the market. After passing the Eidgah, there was a huge empty field, where we used to play. As far as I remember, the Mahananda River probably flowed at the end of the field.

Now that old two-storied house is gone. It leaned too far into the past to remain standing. Due to the extensive leaning, we all decided to demolish the building. Day by day, the building turned into ruins. But what should we have done? Should we have erased all the memories with dust?

We did take it down, brick by brick. But, seventy percent of those bricks, each more than a century old – were reborn in a new house we built on the same land. We used the same wood, the same iron, the same nails, as if stitching the past into the present, so that our memories could still breathe inside these new walls.

I am leaving some sketches and maps for you, so that you can visualize our childhood environment, something I failed to provide to you. Close-knit existences like that, set against such serene surroundings, are impossible to recreate in today’s Dhaka. I may be far, far away now, but I will tell you this, baba – If you can find some time to stay in Durlavpur, the memories of those bygone days will surely beckon you with our comforting presence on those soils.

 

Always,

Abbu

_____________________

General Information

Sender: Sajid Bin Doja

Location of the house: Durlavpur, Kansat, Shibganj, Chapainawabganj.

Ancestor Information:  Ukil bari

Advocate Mohammad Ilyas (Grandfather)

Advocate Md. Badrud Doja (Father)

Sajid Bin Doja (Son)

Sandid Rukhsad Doja (Grandson)

Date of Construction: 1905-07 AD

 

Echoes of Aristocracy: Renewing Nagarpur’s Legacy

Posted on by CONTEXT

This project addresses the critical decay of the historic Nagarpur Zamindar Bari, a significant architectural landmark threatened by urbanization and neglect. Proposing a forward-thinking solution, it proposes adaptive reuse as a sustainable conservation strategy. The aim is to transform the decaying estate into a vibrant hub for cultural heritage and community engagement, carefully balancing historical authenticity with modern functionality. By reconnecting the monument to its socio-economic context, the project seeks to revive its lost identity, stimulate local opportunity, and establish a replicable model for preserving Bangladesh’s endangered heritage for future generations.

| From the submission |
The Nagarpur Chowdhury Zamindar Bari, established by Jadunath Chowdhury on a 54-acre estate, stands as a monumental relic of the Zamindari era. Its distinctive colonial architecture is a testament to a complex socio-economic history. However, decades of urbanization, socio-economic transition, and functional obsolescence have precipitated its decline, severing its connection to the community and threatening its physical integrity.

Proposed activities diagrams © Shayni Saha | RUET

Conceptually, the project embraces the idea of “Balancing the Timeless Ties,” which refers to the delicate act of weaving the site’s historical narrative (the past) with the contemporary needs of its community (the present) to ensure its sustainable future. It moves beyond mere preservation to create a symbiotic relationship between the monument and its people. This approach revives the site’s lost identity by harmonizing conservation, adaptive reuse, and cultural engagement, ensuring the legacy of the Zamindari era remains a dynamic and relevant source of inspiration.

© Shayni Saha | RUET
© Shayni Saha | RUET
© Shayni Saha | RUET

This project proposes a sustainable conservation strategy centered on adaptive reuse to rescue this fading heritage. The research employs a multidisciplinary methodology—integrating historical archival work, architectural condition analysis, stakeholder mapping, and community engagement—to develop a comprehensive revival framework. By diagnosing the site’s historical significance, structural state, and contemporary potential, the study formulates a strategy that protects its authentic essence while dynamically integrating it into the modern socio-economic fabric.

Emporium for exploring local crafts © Shayni Saha | RUET
Community thakurdalan celebrating festivals © Shayni Saha | RUET

 

Entry to Durga Mandap © Shayni Saha | RUET
Andarmahal (Central zone 2) © Shayni Saha | RUET
Accommodation in Rangmahal © Shayni Saha | RUET
Jhulan Dalan VR experience © Shayni Saha | RUET

The ultimate vision is to transform the Zamindar Bari from a decaying monument into a vibrant hub for cultural heritage tourism and community activity. This initiative aims to reactivate the site’s economic potential, foster inclusive local engagement, and safeguard the intangible cultural heritage of the era. This project positions adaptive reuse not merely as a preservation tactic but as a strategic tool for sustainable urban development, ensuring historical treasures remain living, functional, and relevant. The restoration of Nagarpur Zamindar Bari can serve as a model for similar initiatives across Bangladesh, ensuring that the legacy of such sites continues to inspire and educate future generations.

© Shayni Saha | RUET
© Shayni Saha | RUET

 

Connecting the Dots: Dhaka University TSC in a Changing Landscape

Posted on by CONTEXT

This project envisions a multipurpose urban student center as a unifying hub for Dhaka University’s fragmented campus, with a focus on the historically significant TSC area. Set within a dynamic urban context, the design weaves together public spaces, educational facilities, and cultural programs into an inclusive, interconnected framework that fosters interaction and community. More than just an academic facility, the center serves as a civic space that bridges the university with the city, enhancing pedestrian connectivity and offering flexible environments for both formal and informal activities. Cultural vitality is emphasized through performance spaces, galleries, and student-led platforms celebrating campus diversity. Ultimately, the center redefines the relationship between education, community, and urban life, promoting a cohesive, accessible, and resilient experience for future generations.

Historical Origins of the University of Dhaka and the TSC:

The University of Dhaka, established in 1921 as compensation following the reunification of Bengal after Lord Curzon’s controversial 1905 partition, has become a key institution for higher education in Bangladesh. In 1947, the partition of India and Pakistan brought significant political changes, including Ayub Khan’s introduction of basic democracy. This shift led to the founding of the Teacher-Student Center (TSC) at Dhaka University in 1961, as documented in the Doxiadis archives, with the aim of fostering extracurricular and social activities. curricular and social activities, according to the Doxiadis archives.

Present-Day Challenges of the TSC:

The TSC soon became a vital hub for cultural, social, and recreational life at Dhaka University. Over time, however, the campus and its community have evolved, leaving the original facilities struggling to meet growing and diverse needs. This thesis revisits the TSC’s original purpose, explores its historical context, and proposes a modern framework suited to today’s university community.

TSC Then and Now© Asraful Hossain | UAP

TSC Then and Now:

Key findings highlight a significant gap between the existing facilities of the TSC since the beginning of it and the present-day requirements of the university’s population. Issues such as inadequate space, outdated amenities, and a lack of infrastructure emerge as critical areas needing attention for a new center.

A Living Museum and Archive of Centuries © Asraful Hossain | UAP

The Context:

A living museum and archive of centuries: Dhaka University is a living museum where history, culture, and nature converge. Its campus blends Mughal grandeur, colonial elegance, and modern design, reflecting Bengal’s layered evolution. Landmarks such as Curzon Hall, Shaheed Minar, and Aparajeyo Bangla honor key events like the Language Movement and Liberation War. More than its architecture and greenery, the university remains a vibrant center for festivals, intellect, and cultural expression where the past and present meet.

Archipelago © Asraful Hossain | UAP

Archipelago: Additionally, the lack of interconnectivity among all of the zones of this large university campus is due to its horizontal expansion over time and urbanization. Major city traffic passes through this campus, conflicting with the campus traffic, creating a situation like an archipelago.

Strategies for Redevelopment:

Bridging the Archipelago © Asraful Hossain | UAP

Bridging the Archipelago: To overcome the fragmented layout of the campus often experienced as isolated “archipelago dots,” connectivity should be prioritized through pedestrianization and strategically placed event spaces. A network of walkable pathways can unify the campus, encouraging seamless movement. Clustering vibrant, flexible event zones within walking distance fosters interaction, strengthens community ties, and transforms disjointed spaces into a cohesive, dynamic campus environment.

Preserving TSC © Asraful Hossain | UAP

Preserving TSC: TSC stands as a prime example of preserving contextual and iconic creations. Designed by Doxiadis, it is a testament to architectural and cultural significance, making it essential to safeguard its legacy for future generations.

As a 100-year-old campus that embodies historical elements from different eras and serves as a living museum and an ideal place to celebrate and preserve this unique architectural icon.

Proposed Strategic Plan © Asraful Hossain | UAP
Proposed Zones © Asraful Hossain | UAP

 

ZONE A:

Zone A © Asraful Hossain | UAP
Zone A: Proposed Site Plan © Asraful Hossain | UAP
© Asraful Hossain | UAP
Zone A: Exploded Axonometric View © Asraful Hossain | UAP
Proposed Payra Chattar © Asraful Hossain | UAP
Underpass Protest Zone of Raju Memorial © Asraful Hossain | UAP

ZONE B:

Zone B Proposed Masterplan © Asraful Hossain | UAP

 

DUCSU Building: Exploded Axonometric View © Asraful Hossain | UAP
View toward the Modhur Canteen © Asraful Hossain | UAP

ZONE C:

Zone C: Isometric Masterplan
Ground Floor Plan of the Sports Center © Asraful Hossain | UAP
Section AA © Asraful Hossain | UAP
Section BB © Asraful Hossain | UAP
View toward the Sports Center © Asraful Hossain | UAP
View from the Roadside Water Body © Asraful Hossain | UAP

Weaving Urban Harmony: Redefining Zahur Hawkers’ Market, Chittagong

Posted on by CONTEXT

The project “Weaving Urban Harmony: Redefining Zahur Hawkers’ Market, Chittagong” offers a timely and thoughtful response to a long-standing urban challenge: the search for meaningful public space to enhance public life. It seeks to reintegrate community life into the rhythms of local commerce within a historic marketplace, while also addressing sustainability and future resilience.

One of the most commendable aspects is its ambition to embed ‘publicness’ into the design by engaging with the broader urban context. Proposed series of courts along the site’s linearity, attempts to link two parallel roads of the city, encourage access from surrounding neighbourhoods, as well as blend breathing spaces within the complex. However, the similarities in size and shape of these courts may weaken their impact, introducing a sense of anonymity that could disengage users. The central court offers promising opportunities for enriched social interaction, facilitating prayer at the adjacent mosque or informal gatherings within its galleried edges. However, its centralized placement sits somewhat outside the natural urban flow and remains primarily accessible to market users. This spatial configuration limits its reach to the wider city populace, raising valid questions about the depth of its urban integration. Integrating food court within this core space, rather than allocating it to a separate edge, could amplify its public character for the market users and reinforce the designers’ intent.

In terms of sustainability, the use of steel as a primary material is commendable for its durability and potential for reuse. However, broader environmental considerations remain underdeveloped. The unique topography, a valley flanked by higher ground has not been meaningfully addressed in terms of rainwater drainage. This oversight diminishes the project’s resilience in relation to larger environmental context.

The clustering of shop units and the articulation of corridors that promote light and airflow are well handled, and that can reflect comfortable and sustainable environment. Provisions for urban mobility, such as designated spaces for popular modes like rickshaws and CNG scooters require further resolution. More intentional integration of stops, parking, and transitions could greatly enhance accessibility and strengthen ties to the urban fabric.

Overall, the project is bold in its conception and thoughtful in its communication. With some refinement, particularly in spatial hierarchy, environmental responsiveness to storm water drainage, and transport integration, it has the potential to become a compelling model for rethinking public marketplaces in dense urban contexts. Overall, the project is bold and well thought out in design and communication. – Editor

Notes from the submission:

This project envisions the redevelopment of Zahur Hawkers’ Market, located on Fairy’s Hill in Chittagong, Bangladesh. Covering a site area of 9 acres and proposed under the Chittagong City Corporation, the goal is to transform the market into the city’s first integrated public-commercial district—where community life, local commerce, and sustainable design co-exist within an organized, inclusive, and future-resilient urban environment.

© Sidratul Muntaha | CUET
© Sidratul Muntaha | CUET
© Sidratul Muntaha | CUET

 

The core idea is to redefine this traditional market—long known for its vibrant atmosphere of bargaining, colorful displays, and the rhythmic calls of merchants—into a civic anchor that functions beyond economic exchange. With no comparable public-commercial space in the area, the redesigned market will serve as a much-needed urban breathing space where people can shop, gather, eat, worship, rest, and interact in a safe, accessible setting. While preserving the spirit of Zahur Market and its spontaneous, energetic character, the project aims to modernize its infrastructure and enhance the everyday experience for both locals and visitors.

© Sidratul Muntaha | CUET
© Sidratul Muntaha | CUET
© Sidratul Muntaha | CUET
© Sidratul Muntaha | CUET
Shop modules © Sidratul Muntaha | CUET
Food court © Sidratul Muntaha | CUET

The design responds to the congested and unplanned nature of the existing market through a modular and context-sensitive layout. On the ground level, ergonomically arranged shop units with integrated storage are introduced, supported by wide internal roads that allow for smoother pedestrian flow and fire truck access. Rickshaw stands are provided at entry points to reduce traffic bottlenecks. Zoning has been planned based on user preferences and behavioral patterns, ensuring the space remains intuitive and efficient for vendors and visitors alike.

© Sidratul Muntaha | CUET

To expand commercial capacity while preserving walkability and comfort, a second floor of shop modules has been added. This level is connected by pedestrian bridges, which not only ease circulation but also provide consistent shading for the paths below. The transformation includes the introduction of several essential public amenities that were previously missing. A compact food court with a dedicated service entry has been added to encourage gathering and refreshment. A new mosque with increased capacity is placed near the open field to accommodate worshippers, while a convertible open space allows for multiple uses—ranging from a playing field to Eid Jamaat gatherings and community celebrations.

© Sidratul Muntaha | CUET
© Sidratul Muntaha | CUET
© Sidratul Muntaha | CUET

A children’s playground ensures that families can shop more comfortably, while the addition of plazas and multiple seating areas allows for rest, interaction, and social pause. Three clean public toilets, including a baby nursing zone, improve hygiene standards. A goods storage facility has been provided at the market’s entrance to help vendors manage stock during rush hours without cluttering the customer-facing areas. An on-site market office has also been included to manage operations efficiently.

© Sidratul Muntaha | CUET
© Sidratul Muntaha | CUET

Environmental sustainability underpins the entire design. Strategic orientation ensures maximum natural sunlight on both levels, while soakable green courtyards, tree-lined walkways, and planted edges contribute to improved airflow, rainwater absorption, and reduced surface runoff. Modular shop structures are built with affordable yet fire-resistant materials, designed for flexibility, longevity, and potential reuse. In doing so, the redesign reimagines Zahur Hawkers Market as a vibrant, inclusive, and future-ready urban hub.

Contributing Editor: AKM Sirajuddin, Doctoral Researcher, Lancaster University, UK.

Festival of the Streets: Reimagining Mohammadpur Town Hall Bazaar

Posted on by CONTEXT

“Festival of the Streets” is an academic design project that reimagines the Mohammadpur Town Hall Bazaar as a civic and cultural public space. The design treats the market as more than a site of transaction—it is envisioned as a living corridor of celebration, layered activity, and social connection. Rather than applying a nostalgic or historicist approach, the architecture is guided by the principles of regional modernism—an architecture of material honesty, climatic responsiveness, and civic boldness.

© Ramisa Alam | BRAC University

The project organizes itself along a central pedestrian spine, a promenade that weaves together informal trade, structured stalls, performance zones, and shaded community thresholds. This central axis widens into a Celebration Court, a flexible open space at the heart of the complex where seasonal events, food festivals, and community programs can unfold. On either side of the spine, programmatic volumes branch off—the dry market on the northwest and the wet market on the southeast—strategically oriented for natural ventilation, sunlight, and drainage.

© Ramisa Alam | BRAC University

Architectural language is drawn from regional modernist values—clean volumes, raw concrete frames, perforated brick infill, and a clear spatial order that remains open to informal appropriation. The stalls and built forms are designed with human scale in mind, allowing for flexible use while maintaining spatial rhythm and unity. Rather than ornate details, the project focuses on tectonic expression—structure and material become the ornament.

© Ramisa Alam | BRAC University
© Ramisa Alam | BRAC University

Circulation is intentionally layered—linear walkways are intersected by gathering pockets, seating platforms, and ramps that create pauses in movement. Verandahs and semi-covered paths form shaded buffers between the inside and outside, creating thermal comfort without mechanical systems. These transitional spaces are also culturally significant—they allow lingering, watching, gathering, and social exchange.

© Ramisa Alam | BRAC University

Material choices reflect both economy and atmosphere. Locally available brick, concrete, and steel define the main palette, accented with subtle greenery and water elements. These materials express the permanence and dignity of civic architecture while remaining tactile and familiar to everyday users.

© Ramisa Alam | BRAC University
© Ramisa Alam | BRAC University

Overall, the design positions the marketplace as a public institution—not just a site of buying and selling, but a place of gathering, memory, and identity. It aims to respond to the pulse of the street, the rhythm of human interaction, and the cultural energy that defines Dhaka’s urban life. Through clear structure, breathable spaces, and flexible programming, “Festival of the Streets” offers a contemporary vision for a market that feels grounded, open, and deeply connected to its people.

© Ramisa Alam | BRAC University
© Ramisa Alam | BRAC University

Farashganj: A Lane of Spices and French Origin

Posted on by Athena Rahman

The bustling street of Farashganj, once known as French-ganj, is a vibrant and chaotic lane dedicated to the trade of spices and their transportation. This street is anything but calm, with constant hustle and bustle as vendors and transporters navigate the narrow roads, dodging pedestrians while simultaneously loading and unloading trucks full of ginger, garlic, and other spices. It is a place where the rhythm of commerce never stops, and the air is thick with the sights, sounds, and scents of a marketplace in full swing.

Farashganj Road: Trail of spice market | Illustration: Nazia Zaman; analysis – Athena Rahman

Historically, Farashganj traces its roots back to the early 19th century when it was home to a large French community. In the 1830s, Nazim Nawazish Mohammad Khan granted permission to the French to set up a bazaar, or “Ganj,” in the area. This French settlement became a major center for the wholesale spice trade, attracting traders from across the region. The market quickly flourished, and the area became known for its spices, which were traded in large quantities. Farashganj served as a nexus for the spice trade, with the French community playing a key role in its development.

However, the French influence in the area was short-lived. In the early 19th century, the British East India Company took control of the region, leading to the decline of the French settlement. Despite this power shift, the legacy of Farashganj as a spice hub remains alive and well today. The area continues to serve as a prominent center for spice trade, although now with a distinctly local character shaped by the changing times.

What makes the Farashi Para (local area of Farashganj) especially interesting today is the blend of old-world charm and the rapid pace of modern commerce. The street, often referred to as B K Das Lane, connects several important thoroughfares in the neighborhood, and these lanes are integral to the life of the market. Such as R.M Das Lane, Keshab Banarjee Road and Sutrapur from east and Paridas Lane from north.

The spice markets themselves are located near the riverfront, which historically allowed for easier transportation of goods via waterways. This proximity to the river made it convenient for traders and vendors to receive shipments and communicate quickly with Bepari (wholesalers or merchants), facilitating the flow of spices in and out of the market.

Spice shops and villas | Illustration: Sambrita Khan; analysis – Athena Rahman

The walk through this area is not just a journey through a busy marketplace, but a step back in time. Starting from the Bahadur Shah Park bus stand, one heads south, eventually reaching Northbrook Hall, where the pulse of the market is most pronounced. As the walk continues, one can observe the hustle and bustle of the lanes, the street vendors, and the constant movement of goods. The entire area is alive with activity, giving a true sense of what life in Farashganj must have been like centuries ago.

Streetscapes of Busy Marketplace | Illustration: Sambrita Khan; analysis – Athena Rahman

As one walks along the street, the vibrancy of the place becomes apparent. The spice markets are actually opened towards the riverfront lane, for the ease of transporting goods through waterways and for vendors to communicate fast with the Bepari or Vendors. Loaders or carriers of the goods are parked just on the street.  Trucks and mini pick-up vans, loaded with crates of spices, line the street, and workers can be seen loading and unloading goods. The scene is hectic, with street vendors hawking their goods, while large-scale merchants conduct business with suppliers. Despite the commercial frenzy, there is an undeniable energy in the air, one that is rooted in a long tradition of spice trade and commerce.

Thoroughfare of Shayam bazar connecting with the river | Illustration: Sambrita Khan; analysis – Athena Rahman

The Farashi Para also features several historic landmarks, each contributing to the area’s unique character. Buildings such as Ruplal House, Northbrook Hall, Laxmi Villa, Bihari Lal Jeo Mandir, Bibi ka Raoza, Shiv Mandir, and Gokul Roy’s Samadhi reflect the rich cultural and architectural heritage of the area. The neighborhood weaves a rich architectural tapestry, where colonial influences blend seamlessly with local traditions—from Neoclassical-style verandas and Art Nouveau iron railings to Mughal-inspired solidity and elegant arched doorways. However, the effects of unplanned urbanization have left the area grappling with deteriorating infrastructure, congested streets filling with spice bazaar items and inadequate civic amenities, forcing the residents to rely on the streets for daily conveniences.

The streets of Farashganj, with constant movement, noise, and vibrant energy, offer a vivid snapshot of life. The chaotic atmosphere is balanced by the simple daily routines of its residents. People casually go about their daily routines with an effortless rhythm— surprisingly, these street activities are happening in the most underutilized corners that local finds. A plinth, perhaps the crumbling step of an abandoned house, or a setback becomes a stage for public life. Some brush their faces on the front porch, while others prepare for the morning prayer by watering Tulsi tree from the verandah. The Imam readies himself for namaz as the Purohit conducts the pujas. You might spot an elderly woman selling veneration flowers while vegetable hawkers display fresh produce behind a light pole. Parents hurry their sleepy children to school, and office-goers climb into rickshaws—all adding to the neighborhood’s lively rhythm. The streets hum with these simultaneous scenes of daily life.

From its French roots to its present-day status as a thriving spice market, Farashganj is a place where the past and present collide, and where the hustle of commerce continues to define its character.

Illustration by: Nazia Zaman and Sambrita Khan

Unity in Diversity: A Cultural Nexus for the Gulshan Community

Posted on by CONTEXT

Gulshan 2, once an exclusive residential district, has evolved into Dhaka’s corporate and commercial hub. However, amidst its modern skyline of commercial buildings, restaurants, and hotels, the area lacks a vibrant cultural and civic environment. Public gathering spaces and significant landmarks to celebrate the diversity of its community remain conspicuously absent.

© Md Shazzadul Islam | RUET

The proposed cultural complex, inspired by the core concept of “Unity through Diversity,” envisions a space where art, history, and community converge. This design embraces cultural fusion, creating an inclusive environment where diverse communities connect and celebrate shared heritage.

© Md Shazzadul Islam | RUET
© Md Shazzadul Islam | RUET
© Md Shazzadul Islam | RUET
© Md Shazzadul Islam | RUET

The design emphasizes harmony between nature and architecture, with open spaces and green roofs representing growth and unity. Interconnected galleries, workshops, and exhibition spaces are woven together by open spaces and green roofs, embodying the idea that diverse cultures are part of a greater whole. The performing and visual arts sections are housed in two separate blocks, linked by a sky terrace. The stepped terrace also serves as a public space when the cultural center is closed. Each art form also has its own private terrace, balancing openness with seclusion. The auditorium is located in the basement to serve both art forms, while the main entrance includes a striking sculptural staircase that spans all floors. The lobby spaces often host temporary exhibitions. Structurally, the building uses a post-slab system to create flexible, open interiors ideal for cultural activities, while the auditorium employs a composite structure.

© Md Shazzadul Islam | RUET
© Md Shazzadul Islam | RUET
© Md Shazzadul Islam | RUET
© Md Shazzadul Islam | RUET
© Md Shazzadul Islam | RUET
© Md Shazzadul Islam | RUET
© Md Shazzadul Islam | RUET
© Md Shazzadul Islam | RUET
© Md Shazzadul Islam | RUET
© Md Shazzadul Islam | RUET

 

© Md Shazzadul Islam | RUET
© Md Shazzadul Islam | RUET

All these proposed design elements foster a serene and inviting atmosphere for gatherings, performances, and creative exploration. This cultural complex aspires to be a landmark in Gulshan 2, offering a dynamic and inclusive space that bridges communities, celebrates diversity, and fosters unity in a shared public realm.

Touch, Feel, Heal: Designing A Therapeutic Healthcare Facility

Posted on by Saimum Kabir

The inspiration for this hospital design stems from widespread issues in Bangladeshi hospitals—insufficient natural light, poor air quality, narrow and unhygienic corridors, disorganized circulation, lack of open spaces, absence of therapeutic features, and inadequate fire safety. These deficiencies compromise patient safety and delay recovery.

Site and context © Md Rifat Mahmud | KUET

To address these, the project explores the concept “Touch, Feel, Heal through Sensory Therapeutic Garden,” transforming the hospital into a healing ecosystem. It activates all five senses—sight, sound, smell, touch, and taste—as therapeutic tools. Gardens are strategically placed with rustling leaves, fragrant plants, textured paths, edible herbs, and shaded beauty to stimulate sensory healing. This project redefines the hospital as a sanctuary for both clinical and emotional healing. Nature is integrated as a therapeutic agent to promote holistic recovery and offer dignity, comfort, and well-being to patients, visitors, and staff. A central healing garden forms the heart of the hospital—a quiet retreat and restorative space. Vertical gardens are embedded on every floor, forming green atriums that bring in daylight and fresh air, allowing inclusive engagement with nature. Green corridors are not only movement paths but also therapeutic zones featuring textured walkways, aromatic herbs, and calming greenery.

Site plan © Md Rifat Mahmud | KUET
Ground floor plan of the proposed hospital facility © Md Rifat Mahmud | KUET
Elevations and sections of the proposed facility © Md Rifat Mahmud | KUET

Functionally, the hospital is arranged with clear zoning for ease of use and efficient operations. The ground floor houses outpatient departments, emergency services, and diagnostics, ensuring immediate access for the public. Operation theaters are located directly above for fast coordination with emergency units, while ICUs and inpatient wards are vertically stacked above. Ancillary services like the kitchen and laundry are placed on the topmost floor to prevent disruption to medical zones. This vertical organization reduces noise pollution, simplifies wayfinding, and enhances infection control. Located strategically, the hospital serves Khalishpur, Mujgunni, Shonadanga, Nirala, and Old Town, with access via 7 Number Ghat and Joragate. Separate entries for emergency, public, and service routes ensure smooth, conflict-free circulation.

© Md Rifat Mahmud | KUET
© Md Rifat Mahmud | KUET
Fire safety plan © Md Rifat Mahmud | KUET

Architecturally, the hospital adopts a climate-responsive, sustainable approach. The building is divided into linear zones with punched openings and sky courts for cross-ventilation and natural light. The upper floors gradually open to a central lightwell, enhancing airflow and reducing reliance on mechanical systems. This passive design strategy helps maintain indoor air quality and thermal comfort, especially important in the humid subtropical context of Bangladesh. Reinforced concrete ensures structural durability. The façade uses glass panels for daylight and thermal performance, while steel screening with a wood-tone finish adds warmth and texture. Operable windows, vertical shafts, and open corridors ensure natural ventilation. Shaded green zones, vertical planting, and breathable skins support passive cooling and air quality. Fire safety is addressed through generous stairwells, clear egress paths, and appropriate zoning of emergency exits, all aligned with BNBC protocols.

© Md Rifat Mahmud | KUET
© Md Rifat Mahmud | KUET

These features collectively create an immersive healing environment. The result is a hospital that doesn’t only treat disease but actively contributes to patient recovery through its architecture, setting a new standard for sustainable, patient-centered healthcare design.

Beyond Form Generation: Integration of AI into Functional and Spatial Design

Posted on by Ashik Vaskor Mannan

We are now living in the age of Artificial Intelligence. AI is playing an increasingly significant role in our lives, but what impact might it have on the design profession? Despite its potential, most architecture schools in Bangladesh, along with many professionals, remain unaware of what AI can offer.

In Studio V, Department of Architecture at AIUB, we explored AI’s radical impact on the design process—one that could open an extraordinary new chapter in the architectural realm. AI-powered platforms like Midjourney and LookX AI are gaining popularity among designers for their ability to enhance creative workflows. Students investigated how these platforms utilize AI to interpret textual prompts, generating unique imagery that challenges conventional design methodologies. Through hands-on demonstrations and guided exercises, they learned to integrate these tools into their creative workflows, from concept ideation to refined design outputs.

Elon Musk has likened AI to nuclear technology, emphasizing both its risks and transformative potential. In a tweet on X, he remarked that AI will augment human intelligence and be used in conjunction with human input—suggesting that, if we can’t beat it, we should embrace it. In our exploration, we sought to use AI as a design tool rather than view it as a replacement for human creativity.

A significant milestone in AI development came in July 2022 when OpenAI made its tools widely accessible. This powerful platform has rapidly become a catalyst for image generation, augmenting our imaginative capabilities and expanding creative possibilities. AI acts as a prosthesis for human imagination, enhancing our ability to generate complex visual ideas and pushing the boundaries of design.

As an avant-garde architectural institution in Bangladesh, we have consistently pushed the boundaries of design education by integrating artificial intelligence (AI) into the creative process. In alignment with this vision, we recently conducted a 2.5-week intensive design project—Designing the Route Café—where students utilized AI-powered tools to generate architectural forms and explore innovative spatial solutions.

This AI-driven exploration challenged students to conceptualize and design a roadside café that not only met practical requirements but also responded to the cultural and environmental dynamics of its location. Route cafés, as essential landmarks along highways, provide spaces for travelers to pause, refresh, and interact. Throughout the project, students experimented with AI-generated forms, using platforms such as Midjourney, DALL·E, ChatGPT, Fabrie AI, LookX AI, Mnml AI, ReRender AI, and Prime AI to develop and refine their design iterations.

Beyond Form: The Fusion of AI and Functionality

The integration of AI introduced unexpected geometries and novel spatial compositions, expanding traditional architectural thinking. However, beyond form generation, the challenge lay in applying functional intelligence—translating abstract generative outputs into real-world architectural solutions. Students engaged in a process of critical design interrogation, ensuring that their AI-driven forms successfully accommodated the programmatic and operational demands of a fully functional café.

Key Inquiry Issues and Design Challenges

Understanding Prompt Engineering

  • Students explored the art of crafting precise prompts to guide AI toward meaningful architectural outputs, testing different parameters to achieve controlled design results.

 

Navigating Site and Programmatic Constraints

  • The café was designed to accommodate dining for 120 people, a fully functional kitchen, restrooms, and a strategically planned parking area for buses, microbuses, and private cars.
  • The design responded to site forces, ensuring efficient circulation, accessibility, and contextual integration.

 

Balancing AI Creativity with Architectural Identity

  • Students addressed the challenge of maintaining authenticity, user comfort, and functional efficiency in AI-generated forms.
  • AI was utilized to optimize spatial arrangements and simulate environmental impacts, allowing for better-informed early-stage design decisions.

 

AI-Driven Design Iteration: A Student’s Journey in Crafting the Route Café
Step 1: Conceptualization – From Exploration to Contextualized Design

Initial Experimentation with Prompts: The Early Phase
Anan began by experimenting with broad, unstructured prompts, which led to AI-generated outcomes that were disconnected from the project’s goals.

Example of Random Prompt:

“Design a café by the road using wood, glass, and something like nature. It should be comfortable and nice with big windows. There should be some seating outside, and it must have lights. Make it hot and sunny.”

The unclear prompt resulted in irrelevant and abstract designs, emphasizing the need for more precise instructions.

AI-generated images of a Route Cafe based on random prompts © Anan

Refining the Prompts: Structured and Contextualized
Recognizing the need for clarity, Anan refined her prompts, incorporating site-specific details like location, materials, style and goals. This resulted in more relevant and practical outcomes.

Example of Refined Prompt:
“Design a sustainable, futuristic Route Café along a scenic highway, with a triangular form and large windows for natural light. Use glass and concrete, minimalist architecture with clean lines, Dynamic roof structure, indoor and outdoor seating, large windows for natural light, welcoming to travelers, contemporary yet connected to nature, in the context of highway of Bangladesh.”

The refined prompt produced designs that were visually dynamic and aligned with the project’s functional and environmental needs.

Prompts were carefully structured and contextualized to refine the output © Anan

Selection of the Concept: Site-Specific Application & Iteration
After refining the prompts, Anan evaluated the AI-generated designs, considering site context, functional needs, and traveler experience. The selection process involved multiple iterations, where designs were continuously refined and optimized for practicality and aesthetic alignment with the site in guidance of course teachers.

Example of Iteration & Optimization:
In the first iteration, Anan explored various design forms. For instance, one iteration focused on a more geometric, angular design, while another emphasized organic shapes. Through studio guidance and feedback, she iterated on these designs, refining materials, shapes, and site-specific elements to ensure the design responded well to both aesthetic and functional needs.

Iteration and Optimization © Anan

The final design selected integrated materials like glass, and concrete. It featured large windows for natural light and a layout that harmonized with the surrounding landscape, making the café both visually striking and functional for travelers.

This process showcases the importance of structuring AI prompts to generate relevant, context-aware design solutions that combine creativity with practicality.

Step 2: Design Development – Refining Space with AI Insights

In this phase, Anan advanced from conceptual design to detailed development, using both traditional methods and AI tools. A key element was utilizing AI to refine the interior environment and spatial experience. Anan employed prompts to define “lofty” spaces and optimize views under specific conditions, ensuring the design remained consistent with the overall vision.

Example of AI-Driven Interior Design Prompts:

“Create a lofty interior space with expansive views, ensuring natural light filters in at noon. The space should feel airy with materials like wood and glass, seed 4452.”

AI-generated images of the interior space © Anan

These AI-generated insights helped define the space, ensuring natural light and open space layouts. The prompts also guided material choices, optimizing for both aesthetic appeal and creativity.

Through iterative refinement using AI, Anan’s design evolved into a functional and visually appealing Route Café.

Architectural drawings of the Route Cafe made through human reinterpretation of AI-generated images © Anan
Paper model of the final outcome © Anan

Step 3: Presentation – Communicating the Design

In the final phase, Anan leveraged AI to transform her design into realistic visualizations, enabling her to convey the architectural vision more effectively and in less time. The project, completed in 3 weeks, benefitted from the use of AI tools to streamline the rendering process and produce high-quality imagery.

By integrating her raw SketchUp models into AI-powered platforms, Anan was able to generate stunning, lifelike renderings of the café’s interiors and exteriors. These tools allowed her to quickly visualize different spatial conditions, lighting scenarios, and material selections, making the design process more efficient and flexible.

Using Midjourney, LookX AI, and Render AI to convert a simple 3D SketchUp model into AI-processed renders © Anan

The final presentation included 3D renderings, floor plans, and visualized walkthroughs, showing how the café’s design integrated with the surrounding environment. By using AI for visualization, Anan was able to convey her design intentions clearly and efficiently, demonstrating how AI can enhance the architectural presentation process and reduce the time traditionally spent on rendering.

Project Examples: 

i. Project by Sumiya Rahman Anika

Text to image generation © Sumiya Rahman Anika
Iteration and Optimization © Sumiya Rahman Anika
© Sumiya Rahman Anika
Model images © Sumiya Rahman Anika
AI-assisted 3d visualization © Sumiya Rahman Anika

ii. Project by Nazneen 

Text to image generation © Nazneen
Iteration and optimization © Nazneen
© Nazneen
Model images © Nazneen
AI-assisted 3d visualization © Nazneen

Pushing the Frontiers of Architectural Education

Through this AI-powered Route Café project, we redefined design methodologies, enhanced critical thinking skills, and prepared students for a future where human creativity and machine intelligence converge. This initiative served as a steppingstone toward a more dynamic, responsive, and forward-thinking architectural practice.

AI is no longer just a tool; it is becoming an active collaborator in the design process. To arrive at a good design, we must learn to ask the right questions, framing our prompts effectively to harness AI’s full potential. In doing so, AI augments our imagination, allowing us to explore ideas that might have once seemed beyond reach. This intelligent machine expands the boundaries of creativity, serving as a powerful extension of the human mind. For students and designers alike, AI is not a replacement but a remarkable prosthesis—enhancing our creative expertise and transforming the way we conceive and develop architectural designs. As we embrace these advancements, we step into a future where human ingenuity and artificial intelligence work in tandem, pushing the limits of design innovation.

_____________________

Co-authors:

Md. Rashed Hasan [ Lecturer], Md. Sarowar Jahan Apu [Adjoint Faculty]

Heritage Sanctuary for Geology

Posted on by Saimum Kabir

The project aims to preserve the unique geological features of Jaflong, Sylhet, focusing on its unique exposed shale formations dating back to the Eocene epoch (approximately 55.8 million years ago). The site features natural hillocks that reveal rare subsurface shale layers, offering invaluable insights into Earth’s geological history. These hillocks have been declared as a geological heritage site and require conservation to prevent degradation from human or natural causes.

© Shahira Sarwat | AIUB

The site

Jaflong in Sylhet, Bangladesh, has long been significant for geological researchers, educators, and students due to its diverse geological formations. Jaflong owes its formation to the intricate geological processes, particularly the phenomenon of subduction. Over millions of years, the tectonic plates underlying the region have been in constant motion, with one plate sliding beneath another. This subduction process has played a pivotal role in shaping the landscape, gradually uplifting the terrain and exposing layers of ancient geological formations, including the renowned Kopili Shale layer. As the plates continue to interact, the forces generated have led to the gradual emergence of Jaflong, with its distinctive geological features becoming increasingly visible over time. Thus, the site stands as a testament to the dynamic forces of nature and a timeless heritage of geological evolution.

© Shahira Sarwat | AIUB

The site sits at an elevation of 108 feet above sea level, and is situated at the bank of Piyain River near the Bangladesh-India border.  It hosts 42 different species of plants, contributing to its ecological richness. While nearby stone quarries have minimal direct impact, illegal extraction poses a threat to its integrity.

Site images (A) Existing landform (B) Existing plantation (C) View from the site towards Meghalaya, India (D) Site at +108’-0” (E) View from the site towards Piyain river (F) View from the site towards Piyain river leading into India © Shahira Sarwat© Shahira Sarwat | AIUB

Design Considerations and Form Development

Emphasizing the site’s natural forces, the location of the geological heritage (Kopili Shale) on the site has been considered first, along with the depth, and the buffer radius it is assumed to cover below ground. Intending for the heritage to remain the highlight, the design resembles the embedded stones’ shapes, reminiscent of Jaflong, Sylhet, with a concept of integrating the massing seamlessly with its surroundings. Since the entire 22 acres have been declared as heritage, a minimal footprint massing has been designed, along with other scenic considerations such as the view of Meghalaya in India to the North, and the Piyain River to the west.

© Shahira Sarwat | AIUB
© Shahira Sarwat | AIUB
© Shahira Sarwat | AIUB
© Shahira Sarwat | AIUB

Environmental factors, including the nearby Dawki faultline influence the design, along with the concept of stabilizing an environment against earthquake vulnerability. In light of extensive research indicating its resilience in earthquake-prone regions, a cut-and-cover structure has been deliberately selected for this site. Additionally, by incorporating shear walls, truss systems in the roof, and space frames into the building design, the structural integrity has been enhanced. Moreover, a geotechnical ground improvement method is proposed to mitigate landslide risks in the hilly terrain.

Program requirements and outcomes

The project covers a range of programs, considering awareness, conservation, and geotourism in the area, such as a geological museum, geopark, seismic observation center, library, training institute, dormitory, and conference center.

Proposed Masterplan © Shahira Sarwat | AIUB
Section © Shahira Sarwat | AIUB
Floor plans © Shahira Sarwat | AIUB
© Shahira Sarwat | AIUB

Geological Museum: The geological museum encompasses a diverse array of sectors, displaying a collection of geological rocks collected from all over Bangladesh and the neighboring countries, offering unique insights into the fascinating world of geology. The first sector, “A Walk-Through Time,” serves as a captivating journey through Earth’s evolution over millennia. Moving on to “Reading the Rocks,” the museum delves into the earliest formations of rocks, offering a glimpse into the Earth’s ancient past. In “The Dynamic Earth” sector, visitors explore the complex workings of earthquakes and tectonics, and the forces that shape our planet’s surface. Transitioning to “The Habitable Earth,” the museum illuminates the formation of seas and continents, unraveling the mysteries behind the Earth’s ever-changing landscape. Lastly, “Framing the Fossil” presents a unique exhibit of fossils that are meticulously arranged on the ground, replicating their natural placement in geological strata, where visitors can see ancient remnants of prehistoric life.

Exhibition 2: Reading the Rocks, Exhibition 4: The Habitable Earth © Shahira Sarwat | AIUB

Geopark: The Geopark serves as a focal point for Geotourism, attracting a wide range of visitors to experience the geological wonders of Jaflong. This influx of tourists also contributes significantly to the economic vitality of the area, sustaining local businesses. Picking guidelines from “UNESCO Global Geoparks – A Global Framework” and scientific researchers, a walking trail has been designed with interactive and educational points throughout.

Sections of activity points in geopark © Shahira Sarwat | AIUB
Before and after scenario of geopark © Shahira Sarwat | AIUB
© Shahira Sarwat | AIUB
Inside the fault gallery overlooking the rare Kopili Shale formations © Shahira Sarwat | AIUB

Other programs: The incorporation of a dormitory within the contour site presented unique challenges in terms of spatial organization. Despite the dormitory blends with the concept of the site’s natural surroundings while accommodating the dormitory’s functional requirements for its guests. The geological library has been designed considering the extensive collection of geological resources, with dedicated spaces for mapping tables and oversized research materials, ensuring convenient access and utilization of these specialized resources. The Seismic Observation Centre encompasses a team of researchers and a suite of specialized laboratories, including the Geomorphology Lab, Sedimentation Lab, Instrumentation Lab, Clean Microscopy facility, GPS Control Room, Seismograph Machine Room, and Archives.

Staff Quarter © Shahira Sarwat | AIUB
Section through the Dormitory © Shahira Sarwat | AIUB

Preserving Jaflong’s Eocene-era Kopili Shale is essential not only for safeguarding the heritage but also for maintaining the delicate balance of biodiversity. By recognizing the interconnectedness between geology and biodiversity, the project ensures the long-term sustainability of both natural resources for future generations to enjoy and for researchers to study, while safeguarding the natural heritage within a sanctuary setting.