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Ruthless City

অন্তর্যাত্রা | Tareque Masud Memorial and Cultural Center

Posted on 7 December, 20248 December, 2024 by Saimum Kabir

A memorial complex dedicated to celebrating the life and accomplishments of the eminent film director Tareque Masud is a significant initiative, not only to uphold his legacy but also to preserve and promote the cultural identity of Bangladesh. The student project successfully creates an animated space for teaching, learning, and festivity, welcoming a variety of users, and incorporating vibrant zones that accommodate multiple functions—all interconnected through a series of courtyards and an elevated plaza. Connecting the complex to the adjacent neighborhoods and river enhances accessibility, which is crucial due to its remote rural location. Although the student has made efforts to embody the philosophy of Tareque Masud, whose films and creative works have inspired millions of Bangladeshis, the design could benefit from greater clarity in its philosophical narrative and in integrating components that reflect Masud’s values and viewpoints. Moreover, in contrast to the fluid and organic nature of the rural context, the proposed built form appears somewhat rigid and heavy, but the design decisions to open up and activate the ground level introduce a necessary sense of fluidity. – Editor

Notes from the submission:

The proposed site for this project is Tareque Masud’s ancestral home in Nurpur, Bhanga, situated near the Dhaka-Khulna highway in the Faridpur district. This site holds significant sentimental value, as it encompasses Masud’s family residence, featuring two water bodies and an open field where he brought up, along with his final resting place, embodying a repository of his legacy. Its close proximity to key landmarks like the Dhaka-Khulna highway and Padma Bridge enhances accessibility, making it strategically positioned to attract various visitors, including tourists and culture enthusiasts.

Existing condition of the site © Nafia Binte Kibria

The site serves as an intersection between two communal spaces, incorporating the existing Mayor’s house and an open field which is proposed for the High-way Inn, incorporating future possibilities for the site. This unique characteristic of the site adds an interesting layer to the project’s context. It acts as a symbolic meeting point, connecting the historical and cultural dimensions of Masud’s life with the broader local community and the evolving urban environment. This creates a dynamic setting that aligns with the philosophy of neo-contextuality, seamlessly integrating the memorial into both the local community and the larger regional context. In summary, the project location, coupled with its rich surroundings, not only preserves the memory of Tareque Masud but also functions as a vibrant intersection fostering cultural exchange and appreciation. The memorial becomes intricately woven into the living history of the region, ensuring its enduring relevance and significance for generations to come.

The philosophical notion of neo-contextualism provides the foundation for the proposed design. This entails a thorough study of the site context and a deep dive into the literature of Tareque Masud, encompassing his philosophical beliefs and personal life into the design. In particular, the design objects are:

Portraying the history of our liberation war to the younger generation.
Establishing a platform for the expression of Tareque Masud’s philosophy.
Infusing the design with elements that highlight and celebrate the cultural aspects.

The proposed scheme for the memorial complex © Nafia Binte Kibria

The primary focus in determining the layout of the center revolves around decisions influenced by the functions and activities in its surroundings. The decision to connect the two main crowd-generating spaces and rejuvenate the adjacent waterbodies was based on information from previous geographical maps of that region. The process begins by assessing existing conditions, identifying references from current pedestrian entries, and exploring potential connections from the surrounding neighborhood. Major entrances and secondary access points can then be defined based on these references. Defining the lines from the surroundings creates a central space suitable for communal activities. Following the restoration of water channels and connections to existing elements, the form is shaped while adhering to accessibility references, water features, and central courtyards. The initial form is seamlessly integrated with courtyards and waterbodies. Taking natural resources into consideration, plazas and communal spaces are proposed at various levels within the center. To preserve waterbodies, elevated plazas connect communal spaces at different levels for different purposes in the complex, also delineating the form into three distinct zones.

The zoning primarily hinges on the strategic connection points identified in the surroundings. The complex is effectively divided into three major zones by an elevated plaza extending from the highway inn entry through the first floor and the Dhaka-Khulna highway at ground level. These zones are specifically allocated for assembly functions, cultural facilities, and educational/research facilities, each catering to distinct activities. The connectivity between these zones is facilitated by three different courtyards serve with different purposes, also paths, plazas, and bridges spanning from the ground level to the second floor.

Gallery- Muktirkotha © Nafia Binte Kibria

Ramp through Galleries © Nafia Binte Kibria

Extension of Library © Nafia Binte Kibria

Classrooms and Performance Areas © Nafia Binte Kibria

The design’s goal, encompassing zoning and material choices, was to craft a subtle atmosphere that harmoniously blends with the surrounding environment, all while incorporating the philosophy of Tareque Masud.

Contributing Editor: Dr. Yasmin Ara, Assistant Professor, Department of Architecture, School of Design, Brac University

A Diner for Everest | Studio Ideatic

Posted on 1 December, 20241 December, 2024 by Studio Ideatic

The project, located in a dense neighborhood of Kanchpur, Narayanganj, was designed to provide relief from the industrial surroundings. Dotted with hundreds of factories with little to no open space, the site offered a unique challenge in designing a structure that could offer workers a peaceful environment to relax and socialize.

| Notes from the Architect |

Everest Pharmaceuticals, a medicine manufacturing company in Bangladesh, had acquired an old structure on the site, which they wished to renovate and retrofit to meet their new functional needs. In 2019, the company embarked on this renovation project to transform the space into a comfortable and efficient dining area for its factory workers. The functional requirement was a dining facility for the employees of Everest Pharmaceuticals, along with a reception area, a kitchen, and an open parking space.

The design concept focused on simplicity and minimalism, keeping in mind the tropical climate of Bangladesh and the need for social interaction. Cross ventilation was a key design element, ensuring that the facility remained cool and airy despite the hot, humid weather. The building’s architecture was created to foster interaction and comfort for the workers during their meal breaks, providing a much-needed respite from the industrial surroundings.

One of the primary challenges was creating a new cafeteria building and retrofitting the surrounding old structure to accommodate the functional requirements while preserving as much of the existing building as possible. The exterior was completely reimagined by cladding the old building with brick tiles, creating a unified facade with the newly constructed sections of the facility. Brick, paired with metal elements, was chosen to bring a monolithic serenity to the space, contrasting sharply with the chaotic surrounding factory environment.

Native plant species were incorporated into the east and west side walls to add greenery and a hint of nature to the compound. The existing trees provided shade and softened the harsh lines of the architecture and were thoughtfully conserved and incorporated into the design. The incorporation of nature into the design adds a soft layer to the project.

The spatial configuration was deliberately open and welcoming, with the central courtyard acting as a transitional space between the cafeteria and the surrounding factory buildings. The workers can easily flow between indoor and outdoor spaces, ensuring that even in a limited plot, there is a feeling of openness.

Everest Pharmaceuticals Dining Facility offers a serene and functional space for workers, harmonizing simplicity in design with the natural environment. By rethinking the old structure and carefully integrating new elements, the project tries to achieve a balanced and serene space in a highly industrial setting.

DESIGN TEAM

Studio Ideatic (Explore Studio Ideatic’s profile page)

Lead Architect: Shimanto Goswami, Shycot Chandra Mandal, Lamia Ahmed.
Structural Engineer: Md.Asaduzzaman Sagar

Site area: 830 m²
Gross Floor area: 200m²

Project start date: 2019
Project completion date: 2022

Photographer: Noufel Sharif

A Unified Complex for Plastic Waste Upcycling | CUET

Posted on 27 November, 202428 November, 2024 by Saimum Kabir

Approximately 7.2 billion metric tons of plastic waste is produced globally and it would take 200 years to recycle at the current rate of 9%. Bangladesh, especially Chittagong, faces poor recycling practices, highlighting the need for improved systems to prevent downcycling.

Collection and Recycling Points in Chittagong © Rifat AL Ebrahim

Downcycling is a challenge where recycled plastic loses quality. In Chittagong at first, plastic waste is collected from different sources and reaches recycling shops through scrap shops. However, there are only a few plastic waste collection and recycling points in Chittagong. After recycling they go to the consumer through the manufacturer. Boluar Dighi, Bastuhara, Ananda Bazar, and Hazir Pul are notable sites for plastic recycling in this region.

Form generation and Functional zoning © Rifat AL Ebrahim

The proposed facility aims to upcycle various plastic waste in order to heal the environment by decreasing pollution and emissions, safeguarding natural resources, and preventing the overflow of landfills. Upcycling is an improved recycling method of transforming waste materials into a new product of greater quality with artistic or environmental value. The proposed unified complex offers an integration of a re/upcycling facility and visitor center in one place.

The building form is conceived as a machine to achieve optimal efficiency. It is divided into 2 segments. They are the Industrial segment and the public segment. The industrial segment is divided into 3 sub-segments. They are: i) Production area, ii) Administrative area, and ii) Area for the workers. The public segment offers the visitors an experience zone to explore the whole production process. A number of indoor and outdoor facilities are provided for the workers to ensure their wellbeing.

With the vision of near-zero plastic pollution, it is anticipated that the project will help to contribute to raising public awareness. The facility also includes different neighborhood amenities such as playgrounds, art exhibits, and recreational areas that cater to individuals of all ages, genders, socioeconomic backgrounds, and ethnicities.

Roof top experience zone © Rifat AL Ebrahim

Despite the many debates and conflicts surrounding the recycling of plastic waste, it is undeniable that we rely heavily on plastic in our everyday lives. Therefore, it is impossible to cease using it. Using high-quality recycled plastic can be an alternative. As a result, the production of new plastic will be significantly reduced.

Bengal Braided Rugs Industries Limited | AUST

Posted on 24 November, 202425 November, 2024 by Saimum Kabir

This project aims to revitalize the traditional jute weaving industry while incorporating modern sustainability practices and efficient workspace design. By embracing the region’s cultural heritage and harnessing technological advancements, it seeks to create a model for sustainable industrial development in Bangladesh.

Handicrafts serve as a tangible expression of the rich cultural identity and artistic prowess inherent in specific cultures or communities. They leverage local craftsmanship and materials, with the unique hand structure of the women in this region proving ideal for crafting these intricate pieces. Beyond their aesthetic value, these creations play a pivotal role in bolstering a country’s foreign exchange earnings, generating employment opportunities, and promoting the sustainable use of indigenous resources. Textile-based handicrafts, particularly rugs, have gained widespread acclaim both domestically and internationally.

Site Map, Programs and Concept © Tasdik Mumin

Benefiting from a geographical advantage, Bangladesh boasts a 200-year heritage in producing traditional rugs known as ‘Shotoronji.’ The region’s abundance of golden fiber jute, cultivated extensively due to high rainfall, forms the basis for crafting these traditional rugs. Bengal braided rugs ltd. Stands as a pioneer in the local handwoven rug business and currently holds the position of one of the largest exporters from Bangladesh. This project report seeks to breathe new life into this specific handicraft industry, aiming to enhance its efficiency and achieve its objectives by conceptualizing an environmentally friendly workspace and a sustainable industrial building.

This factory has been located since 1995 in the urban area of Savar district near Dhaka. One of the main reasons for staying here is that the products produced from this area of Savar can be easily transported to different parts of Bangladesh. Besides, this place also facilitates export outside the country. Dhaleswari river is on the east side of this site. So, workers can easily come to this factory by river. Also, in the past when river transport was very easy, jute used to come to this factory from different parts of Bangladesh by river.

The comprehensive blueprint for this factory is divided into three primary segments: the administration area, factory area, and accommodation zone. Additionally, provisions have been made for potential future expansions. Within the main factory section, four distinct wings delineate the jute processing, dyeing, sewing, and painting-checking areas. A water reservoir, strategically placed among these wings, serves both functional and aesthetic purposes.

To streamline loading and unloading processes after product preparation, the production’s starting and ending points are positioned near the road. This arrangement not only facilitates smooth operations but also aids in fire protection, particularly for storage areas near the road and finished materials. Essential facilities like the Effluent Treatment Plant (ETP) and utilities are situated at the rear of the site, close to the dyeing section. This strategic placement aids in treating contaminated water from the dyeing processes. Moreover, the sewing section’s placement along the riverbank aims to enhance the work environment, offering workers the benefits of fresh air and a scenic view of the river while they carry out their works.

The factory floor is strategically organized into distinct zones, each dedicated to specific stages of rug production. The plan maximizes efficiency by facilitating a seamless workflow, minimizing unnecessary movement, and reducing production bottlenecks. The careful arrangement of equipment and machinery ensures smooth operations and optimal utilization of space.

For this factory, material selection is pivotal, with a focus on sustainability and reusability. Nearly all materials used adhere to these principles. Fire safety is of utmost importance and is addressed through the incorporation of fire-resistant components such as walls, coatings, and insulation. Flexible layouts, necessary for accommodating future adaptations, require easily modifiable or modular materials to meet evolving manufacturing needs.

Water distribution system © Tasdik Mumin

To reduce water consumption, a rainwater harvesting system has been implemented, utilizing gray water for vegetation. Solar panels are installed to generate energy, while high-volume, low-voltage fans are employed to circulate air throughout the spaces. An internal water feature serves as a rainwater reservoir and an emergency water resource during fire hazards. Warm air passing over the water feature cools before entering the building, contributing to a comfortable indoor environment. Cool air circulates throughout the space and can escape through openings provided under the roof. Roof lights illuminate the entire space through the atrium, while operable windows and z-section louvers ensure adequate air circulation. Glass windows are strategically placed to maximize natural illumination through sunlight.

The factory layout is meticulously planned to optimize efficiency, organizing workspaces, production lines, and storage areas. Well-defined entrances and exits facilitate smooth personnel and goods movement, enhancing safety and preventing congestion. Staircases, elevators, and ramps provide convenient transportation between different levels, further contributing to a streamlined workflow and a safe working environment.

The Value of Null

Posted on 23 April, 202424 November, 2024 by Saimum Kabir

The river’s edge, once nature’s delicate tapestry, succumbed to human overdesign. Pollution, concrete and brick-clad river edges now mourn its lost freedom. This project embraces the philosophical notion that sometimes, even inaction holds significance and proposes an artwork installation that serves as a silent but powerful protest, conveying a message against intervention that has altered the natural beauty and the flow of water edge. The proposal secured the 2nd position in the international competition on water edges organized by the Aditya School of Architecture, Mumbai, India.

The water edge is never constant and always animated. The water edge signifies the point where water meets land, serving as a symbolic threshold that embodies the junction of nature, culture and society. The coexistence with the water delineates the intricate connection between various aspects of human civilization, weaving together a tapestry of shared history, cultural significance, and the symbiotic relationship between society and the fluid essence of nature. From nurturing amphibians to guiding the paths of mighty rivers, the water edge symbolizes the delicate equilibrium that sustains our world. Any attempt to control it sets off a butterfly effect, disrupting the delicate balance of nature.

Once reserved, water/river edges now silently bear the burden of human neglect. We, as architects, planners and designers, tend to intervene catering our design solely for our benefit, forgetting the nature that we’re building it upon. This has changed the scenario of river edges and their natural course in the past years. Upon thinking about what we can do to design an edge while addressing all the issues mentioned, we concluded that crafting a river’s edge without designing it reveals nature’s true masterpiece and allows it to sing untamed.

© Golam Ahammad Sunny, Nafisa Anjum, Julkarnain

A canvas was proposed, positioned on the riverbank’s edge to capture the essence of its bygone days. The artwork reflects the river’s natural ebb and flow. A person passing by will stand there, have a look at it, and can see the glorious past it had compared to now. The artwork will be made from biodegradable material, once it touches the natural soil, it’ll dissolve by itself, only to signify its poetic finale that the goal of this rebellion has been achieved and the river has gone back to its authentic form.

The concept was inspired by the principles of New-contextualism, a fresh philosophy pioneered by Mohammad Habib Reza, which advocates for a mindful approach where intervention is only made when a situation necessitates it. This philosophy embraces the notion that sometimes, even inaction holds significance.

Image Credit:

Julkarnain, Golam Ahammad Sunny and Nafisa Anjum

দেলিপাড়া জলদাস গাঁ: Housing for Delepara Fishermen Community

Posted on 22 March, 202422 August, 2024 by callltb

জলদাস or ‘Water Slave’ is a fishermen’s community located in Delepara village, Chattogram. In this community, 100% of the population is Hindu. The most colorful and vibrant aspects of their lifestyle are the festivals, which they celebrate through various pujas and events. The government has proposed a housing project for the community with the provision of a 2,200-square-foot area for each family with living quarters and other facilities. This student work revisited the housing project aiming to improve the quality of life of the Delepara community by developing co-living areas that encourage social interaction, as well as providing them with adequate space for performing puja/ rituals and other festivals, thereby creating a sense of belonging and preserving their rituals and traditions.

There are three existing temples, four existing water bodies, and three entrance points to the site. The proposal includes a central pedestrian path between the temples and water bodies, as well as the provision of adequate space for religious activities around the temples. This linear arrangement is suitable for fisherman’s preparation and repair work. A total of 120 housing units with functional courtyards distributed in four zones around four water bodies and existing temples. The inner courtyard helps them to manage their daily work like drying paddy and pickle, children playing area, repairing the net in wet season, etc. The outer court is used to dry, prepare or repair the fish net. A fish market in front of the channel is proposed so that they can sell their catch to the local vendors. The amenities like pre-school, boat repairing workshop, community multipurpose hall, local market for everyday supplies and a play field are also proposed.

Each housing unit consists of two bedrooms, one kitchen, one prayer room (pooja gor), one bathing space, one separate toilet, one tubewell, and a flexible courtyard consisting of a Holy Basil (Tulsi) tree for puja purposes. The total area of each module is 2200 sq ft where there is a small courtyard (350 sq ft) and green space (80 sq. feet) for cultivation. In the cluster, the idea is to join 2 inner courts to form a linear space for the fisherman’s daily work. The housing module can be extended vertically in the future. It can be extended up to 2 or 3 more bedrooms, if needed.

Locally sourced materials are prioritized in the construction process. The proposed module features a bamboo floor (future extension), a galvanized iron corrugated sheet roof, brick walls and a plinth with concrete finish. The windows are designed with louvres and double swing to maximize the daylight and natural ventilation while keeping privacy in the context of a rural community.

Reimagined Jamuna Future Park as a Civic Space | BRACU

Posted on 2 December, 202327 October, 2024 by Saimum Kabir

Architectural movements, limited by the omnipresent driving forces of free market economics have barely prioritised communal spaces in Dhaka. This design thesis explores the deteriorating fabric of civic textures in Dhaka’s cityscape and creates a hypothesis which proposes an adaptive solution within a critical node in her map. It tries to rethink an existing shopping mall – Jamuna Future Park – of a colossal scale spread across thirty-three acres of land to facilitate development on both micro and macro scales to attract the city’s inhabitants in droves.

At the age of fifty-two, Bangladesh entered an era of unprecedented globalisation and late-stage capitalism. Modern societies thrive when architecture and urban design are used as spatial tools to reconcile the intrinsic need for socialisation with the ubiquitous need for materialistic fulfilment.

Ideal civic spaces have a distinct character in the public realm and are an irreplaceable part of the city’s character. Plot-centric urban planning paired with skyrocketing land prices in this congested city has led to extreme land scarcity for public use. Soaring private complexes and towers choke the few remnants of voids available. Urban accessibility is a distinctive trait in southwestern Dhaka. However, as you move northwards, the collective ethos diverges from a socialist utopia.

Jamuna Future Park is located at a critical juncture which can be classified as the gateway between New Dhaka and Old Dhaka. Research revealed glaring issues within the existing structure such as poor customer retention in relation to the sheer scale of financial investment, underutilised real estate space, frustrating navigational issues within the colossal maze of monotony, climatic considerations and underutilised land area.

Integration of site into neighborhood context © Nuzhat Shama

The primary objective of this project was to strike a sensitive balance between the economic, social and cultural needs of users while creating human centered spaces. It aimed to redefine the hustle and bustle of Dhaka to create positive associations – a nurturing sanctuary for rejuvenation by exploring the intersectionality between nature and the built environment while also mitigating the polarization and alienation of different social fabrics.

This project was heavily influenced by the concept of “New Contextualism” to create aspirational narratives which captivate the Bengali ethos, challenging the International style of architecture notorious for eroding contextual stories of localities across the globe.

Implementation of design strategies © Nuzhat Shama

Design strategies ranged from the deconstruction of the boxy volume into a digestible staggering structure, increasing spatial porosity to an enveloping concave form with integrated informal spaces across the heart of the project to be more welcoming. Real estate spaces were scaled down to increase versatility, variety and affordability. Monotonous shops are rearranged in a zig-zag layout to introduce interactive and interesting edges. Ramps and escalators are used as experiential tools for seamless vertical integration of pedestrian traffic. The five atriums organized with classical geometry are culpable for the rotational symmetry causing navigation issues. From the human perspective, there are no reference points when every elevation looks the same. The theoretical concepts of harmony, focus, and hierarchy help address this issue. The proposed alternative introduces a vista with a meandering path – a psychological end to a user’s journey. Not only does this act as a major reference point, but it also stirs a visitor’s curiosity to explore.

Before – Existing Condition © Nuzhat Shama

After; Proposed alternative © Nuzhat Shama

Space creation in the proposed alternative © Nuzhat Shama

Resulting spaces in the proposed alternative © Nuzhat Shama

Seminar Instructors:

Dr. Muhammad Faruk; Dr. Mohammad Habib Reza and Dr. Imon Chowdhooree

The IAB Built Expo 2023 pulls in crowd.

Posted on 22 November, 202321 August, 2024 by callltb

The Institute of Architects (IAB) arranged the most prestigious building material exposition in BICC where architects and interior designers, students as well as the general public can connect to various building and interior material companies and contractors under one roof. As like every year many dealers and companies have joined to introduce their products to visitors.

The opening ceremony of IAB Built Expo 2023 took place on 7^th Nov at 7 pm in BICC celebrity hall. The event was graced by Mr. Sharif Ahmed, the Honorable State Minister of the Ministry of Housing and Public Works as the Chief Guest, while Ar. Mir Manzurur Rahman, Chief Architect of the Department of Architecture, Ministry of Housing and Public Works was present as the Special Guest. The ceremony was chaired by IAB President, AR. Prof. Dr. Khandaker Shabbir Ahmed.

IAB organized two technical seminars named BUILD TALK where renowned architects shared their valuable messages and product companies like Barobi Design, RAK, GPH, TOCCO showcased their product technologies and services.

This event had an extraordinary arrangement this year. There was an exhibition of the best thesis projects came from students of various universities. There was an Architectural photography exhibition and competition on the theme of BUILT ENVIRONMENT. Asif Salman won the competition.

Architects’ unbuilt project exhibition took the visitors’ attention most. Many architects and architectural firms submitted their projects by the call of IAB which were not constructed due to various reasons. However, only selected 46 projects were presented at this event. This initiative was appreciated by everyone.

IAB also arranged the Best Exhibitor Award for the building material companies in four categories – lounge, platinum, gold & and silver. Barobi Design, Rainbow, Indigo and ART DNA won the awards. The award ceremony was held on 9^th Nov but that was not the end, after watching a huge response from the public IAB extended the event one day more.

Photo Gallery ( Courtesy: Rubayat Tasnim, Shahriar Mahmud & internet )

The Art of Section | Asad Hossen

Posted on 16 November, 202321 January, 2025 by Saimum Kabir

This series delves into the captivating realm of art and architecture, exploring the inherent beauty of architectural drawings as a medium to narrate compelling stories.

The core focus of “The Art of Section” is to shed light on the often overlooked yet profoundly evocative nature of architectural drawings. The series aims to celebrate the ability of these drawings to transcend mere technical representations, evolving into visual stories that encapsulate the essence of structures, spaces, and their narratives. It entails cutting up some of my favourite architectural designs into cross-sections.; providing a glimpse into its interior spaces, structural elements, and spatial relationships.

This series of drawings attempts to establish the narrative that architectural sections are more than just technical drawings; they are a form of visual storytelling. Through carefully composed sections, these drawings try to communicate how natural light interacts with a space, how materials and textures come together, and how users will experience the built environment with a hint of ‘Magic Realism’

A profound comprehension of beauty and aesthetics is always necessary to create a stunning drawing. An architectural section done well is more than simply another drawing on the board; it’s a piece of art that encapsulates the spirit of a building and all of its practical and aesthetic aspects. As such, it’s a crucial tool for architectural storytelling and the design process.

Sou Fujimoto_House NA_Tokyo © Asad Hossen

Geoffrey Bawa_Da Silva House_Colombo © Asad Hossen

Eduardo Souto de Moura_Two Family House_Ponte de Lima © Asad Hossen

Bukit Cahaya_Charles Correa_Unbuilt © Asad Hossen

Bashirul Haq_Bhatshala House_Brahmanbaria© Asad Hossen

Alberto Campo Baeza_Casa Garcia Marcos_Valdemoro© Asad Hossen

About the Artist:

Currently working as an Architect and Urban Designer, Asad is passionate about creating unique and responsive design solutions that enhance the livability of our cities. He earned his B.Arch. from BRAC University and, supported by an ADB scholarship, finished his master’s degree in Urban Design at the University of Hong Kong. With a background in both architecture and urban design, he can bring a strong understanding of critical design thinking and architectural drawings to his work. Ever since he started studying architecture, he has been enthralled with architectural illustrations and drawings. Drawings and illustrations are always therapeutic to him.

Follow Asad on Instagram: https://www.instagram.com/hossen.works/

Follow Asad on LinkedIn: https://www.linkedin.com/in/asad0hossen/

Feni College War Memorial Complex | Vector Plinth

Posted on 13 November, 202325 November, 2024 by Vector Plinth

| Notes from the Architect |

During the Liberation War of 1971, Feni was one of the most crucial war zones because of its geographical location. Feni Government College field was used as a mass slaughtering ground by the Pakistani invaders. Martyrs were inhumanly tortured, murdered and buried beneath the college field. Families were rushed to the college grounds as soon as Feni was independent on December 6^th, in the hope of finding their loved ones.

Even after 52 years of independence, the people of Feni weeps recalling the horrors the martyrs endured during the war. Students of Feni Government College boldly portrayed the terrors of the war in a school play called “Goalpost”. They reminded the audience how their present college was converted into a torture cell by the Pakistani raiders in 1971. The Muktibahini and their supporters were brutally tortured and killed by gunshot while hanged by cords on the goalpost of the college field; later thrown in the pond or buried below the college ground.

The government authority of Feni was moved by the performance of the students. They were motivated to revitalize the abandoned space in honor of the martyrs of Feni. The architects of the project took inspiration from the cruel history of “goalpost” and initiated the idea of an abstract monumental goalpost – symbolizing the horrific incident of hanged martyrs. The concept was to revive the memory of the martyrs so that young students could understand and appreciate the sacrifices that were made in 1971.

“এক সাগর রক্তের বিনিময়ে, বাংলার স্বাধীনতা আনলে যারা, আমরা তোমাদের ভুলবো না”

(“We will not forget you, who brought the freedom of Bangla, in exchange of an ocean of blood “)

This renowned quote was written on the right side of the façade of the monument, reflecting the concept of the project.

The goal was to curate a lively space where people can gather and feel connected to our history and interrelate. The enormous height of the monument can be seen from a long distance, calling out to people from afar. People all around the space are drawn to explore the outstanding landscape. The pavement of the structure is linked with the school courtyard. Moreover, it is easily accessible from the pathway beside the pond. Walking down the pedestrian, one can feel the vastness of the structure – two 40’ tall walls, representing the infamous football post. On the left side of the concrete façade –

“মুক্তির মন্দির সোপানতলে কত প্রাণ হল বলিদান, লেখা আছে অশ্রুজলে”

(“On the steps of the temple of liberation, how many lives were sacrificed, it is written in tears”) written in Bangla golden font. The 40’ black wall on the back carries round blood-red punches, symbolizing the gunshots our martyrs had to endure. Sixteen lit steps till one stands on the monumental plaza, and looking up from there – six copper cylinders suspended by cords, which represent the journey of our immortal warriors of Feni. Each cylinder signifies different stages of the war –

চেতনা (Cognition); জাগরণ (Awakening); সংগ্রাম (Warfare); বেদনা (Agony); জয় (Victory); স্বাধীনতা (Independence).

Immediately following the launch, schoolchildren performed in the amphitheater, and members of the public gathered to pay tribute to the martyrs. While walking around, visitors learn about Feni independence by reading the four memorial plaques. They read about the history and stories of the sacrifices of our martyrs, names of 31 Bir Muktijoddha (Freedom Fighters), and later find themselves standing in front of our nation’s map and flag. People learned about stories of a man who came to Feni College slaughter-ground in 1972, in search of his brother. He picked up a skull from the piles of bones, holding it close to his heart. When asked why he is taking it, he said – “Pakistani invaders took my brother to the Feni College Camp and he has been missing ever since. My brother had a larger head, and this skull looks bigger than the others.” These shattering tales remind the youths about the sacrifices of their roots.