Architecture Bangladesh

26/03/2025

Project Name: Zebun Nessa Mosque
Location: Ashulia, Bangladesh
Architects: Studio Morphogenesis
Area: 6060 ft²
Year: 2023
Photographs: Asif Salman, City Syntax
Lead Architect: Saiqa Iqbal Meghna
Construction: IDS Address Maker
Structural Consultants: TDM
Partner In Charge And Design Team Member: Suvro Sovon Chowdhury
Partner Team Member: Shahla Karim Kabir, Minhaz Bin Gaffar
Associate Project Architect: Muntasir Hakim
Metal Stair Structural Consultant: Faysal Anwar
Electrical Consultant: Eyashin Ahamad
Plumbing Consultants: Shafiqul Bari, Shah Newaz Kabir
Glass Mihrab: Collaboration with Artist Wakilur Rahman

From The Architect: A monolithic pink concrete mosque finds its location at the edge of an existing waterbody amidst a fast-growing industrial area on the outskirts of Dhaka City. The mosque is designed as a Permeable Pavilion that establishes a deeper connection between water and land, which serves as both a spiritual and breathing space within an industrial compound. The owner of the industry wanted to build a mosque for the workers to commemorate the memory of his late mother in the hope of inducing softness within the harsh industrial area. This narrative inspires the architect to design the mosque as a spiritual-social space, enhancing mutual care and trust between the owner and the workers.
The mosque incorporates elements that allow for filtered natural light and ventilation, creating a “breathing pavilion." The mosque features a simple yet effective design, with a monolithic mass situated on a high plinth, reminiscent of the vernacular house forms built on ‘Bhiti’ (mound) in the deltaic landform of Bangladesh. The plan of the mosque evolves from simple geometric shapes, with a square surrounding a circular volume, to create four enclosed gardens that serve as light courts on each side. The outer square volume melts into subtle curves in the east and west directions to interact with the site forces. The northeast hanging corner of the curve wall defines the main entry, facing the existing node of the two main internal roads of the industrial compound. The thick concrete walls are perforated with small rectangular voids. Filtered light seeping through the voids resembles hanging lanterns of old mosques.
The double-layered thick walls create a microclimatic atmosphere within the mosque, ensuring thermal comfort. Sunlight plays inside the garden courts along the ‘jaali’ openings and reflects into the interior spaces while the heat dissipates from the interior. Being in a hot and humid climate, the mosque is designed and encouraged to be a true naturally ventilated space where a cool breeze passes through all openings coming from the outside natural waterbody that flows across the sequence of constructed water-pools to the interior prayer hall to the outdoor elevated plinth surface. The doors and other thresholds are all made with perforated metal sheets to ensure a filtered flow of wind during the heavy monsoon. All these features establish the very idea of a ‘breathing pavilion,’ a deeply rooted architectural form of this tropical climate.
A shallow, thin shell dome levitates over the perforated curve walls, elevating the singular interiority of the prayer hall. The floating dome evokes the structural ingenuity of covering large spaces without intermediate supports manifested through the chronological development of mosque architecture in the Islamic world.
Unlike solid qibla walls in conventional mosques, the qibla of this mosque is defined by a wide arched opening on the subtle curved western wall. A reflective waterbody connects the turquoise mosaiced interior through the arched opening to the existing pond, allowing the prayer space to flow seamlessly towards a light-filled infinity. The mosque is devoid of any glass surface except for the translucent glass mihrab, which is placed on the shallow water body. The glass mihrab is uniquely handcrafted on-site using local glass pieces.
The southeast courtyard of the mosque holds a perforated metal stair connecting to the crescent-shaped upper floor, which is preserved for female workers of the industrial complex. The space serves both as a meeting and prayer space for the women. A 'Chhatim' tree is planted near the stairs to make the space filled with fragrance at the time of full bloom. Participating in the mosque activities caters to a sense of empowerment and belongingness among the female workers in the industry.
The ablution area is designed to induce a sense of spirituality during the act of purification before performing the prayer. The rustic pink mosaic floor becomes turquoise, representing tranquillity. The turquoise and pink mosaic with carefully laid broken brick pieces reflects the mastery of age-old craftsmanship, where the use of these colors connects with the collective memories of the users. The used ablation water is recycled and reused to water the garden plants.

17/05/2024

Name of Project: URBAN MEEHSAAN
Location: Plot: 7, Block K, Road no 14, Baridhara
City: Dhaka
Country: Bangladesh
Site Area: 375 sq m
Year of Completion: 2024
Developer: Urban design & development Ltd.
Project Location: https://maps.app.goo.gl/nZUFiP5YDsitCUKb6
Principal Architect: Ar. Bayejid Mahbub Khondker
Project Architect: Ar. Piravi Kabir
Interior: Ar. Subrata S Hazra
Structural Consultant: Engr. Md. Monayem Hossain
PME Consultant: Multi Product Engineering
Photo Credit: Maruf Raihan
Nestled within the prestigious Baridhara Diplomatic Zone in Dhaka, stands this exquisite apartment building epitomizing modern luxury and elegance. With its sleek contemporary architecture, the building exudes sophistication and charm.
The exterior is adorned with fair-face concrete and full-length fenestrations, reflecting the dynamic energy of the bustling city. Surrounding the building, verdant lawns and manicured gardens provide residents with serene retreats.
Stepping inside, residents are greeted by a grand lobby adorned with tasteful decor and plush furnishings, setting the tone for upscale living. Each apartment within the building boasts spacious layouts, high-end finishes and chunks of greenery offering residents a haven of comfort and style.
From expansive windows breathtaking views of the surrounding vibrant cityscape unfold. The rooftop garden offers panoramic views of the city skyline, providing a picturesque backdrop for social gatherings or simply unwinding amidst nature's embraces.
For those seeking a deeper connection with nature, the building's proximity to Baridhara Park allows residents to immerse themselves in acres of lush greenery, jogging trails, and serene lakeside vistas, providing a refreshing escape from the city's hustle.
Whether enjoying a morning yoga session amidst the tranquil gardens or hosting a sunset barbecue on the rooftop terrace, residents of this apartment building can savor the harmonious blend of luxury living and natural beauty in the heart of Dhaka's diplomatic enclave.

20/03/2024

CHAABI House....
Location: Rupganj Upazila, BANGLADESH
Architects: EKNC, SYSTEM Architects
Lead Architects: Enamul Karim Nirjhar
Project Architect: Mayeesha Tasneem
Design Team: Nishat Tasnim Auroni
Photographs: Maruf Raihan
Drawing And Construction Coordination: Ahsan Ullah
Structural Consultant: Texture Consultant
Electrical Consultant: Utility Consultant
Project Management And Site Engineering: Shoaib Mahmud
Texture Consultant: Asaduzzaman Prince
Design Corner: Shahjahan
Utility Consultant: Ajmeer Sharif
Plumbing Consultant: Design Corner
Image Source: Archdaily

From The Architect:

In a serene environment, situated just on the outskirts of Dhaka city with proximity to the river Sh*talakha, the design was intended for the residence of a family. With its transitional layers of indoor-outdoor spaces, the residence offers generous spreads of filtered daylight glazing through the interiors. It intended for people to look for the unknown and ask from the unknown. Hence, the residence was named CHAABI, meaning wanting something in Bengali.

The flow of the house’s function expresses openness and nature. While the main entrance acts towards welcoming guests, other entrances are crafting the openness and blending with the surrounding nature. On the ground floor are bedrooms, a home theatre, a dining room, a swimming pool, a gym, a guest room, a kitchen and a staff room. The water body beside the living room is open to the sky, and the south opening gives the view of nature with the calmness of the south wind. The water body beside the house has a straight connection to the house. The narrow walkway on the edge of the water body takes to a large open space, giving the feeling of going from a small space to a large space.
A series of light-filled stairways provide a visual connection with the landscape and emulate walking through the green grass as one passes between spaces.
On the first floor, there’s an intimate family area where rain can be relished and a door that opens to the outdoor area where one can sit and cherish the rain. Besides that, a guest room, kitchenette, and a long corridor lead to various spaces, such as the family living room, where there is a space called address-desk. It’s an elevated wooden stage with three microphones to give speech. Then there are a few bedrooms and a study room. The master bedroom is especially celebrated with a stair connecting it to the open field.

The bedroom over a contoured land was placed thoughtfully as a courtesy to the only daughter of Mr. & Mrs. Mahbubul Alam.
The use of materials reflects the architecture of the residence. Portraying an iconic but sensitive use of concrete for walls and ceilings and Mahogany wood for doors-windows exhibits the materials’ versatility to their fullest. The use of glasses with no grills allows to enter filtered glazing sunlight. Matte tiles were used in floors, giving a subtle finish.

The design of the residence incorporated a few emotions-provoking elements. One of these is memory traps. These were placed in the ground where ambient indirect light comes from. They kept memorabilia of their parents and grandparents there to remember and treasure them.

The design intended for people to look for peace and calmness and be in sync with the surroundings. This subtle incorporation provides the users with physical and psychological connections with nature. The discussion of the project came to a point where the whole thing seemed like a poem. That assured the client enough to say, “You write, and I will interpret it in my way.”

22/02/2024

Beyond Survival: A Safe Space for Rohingya Women and Girls

Architect: Rizvi Hassan and Team.
Year: 2019.
Location: Rohingya Refugee Camp ( 25) , Alikhali, Teknaf.
Client: FDMN Women & Girls (supported by UNICEF & BRAC).

The harrowing experience of conflict, displacement and associated stresses have disproportionately affected the Rohingya women and girls, who need urgent supports. Safe Space for Women and Girls, serving as a platform, allows Rohingya women and girls to advocate for basic services. The facility also plays a key role in providing women’s access to community support networks while strengthening social relationship.

| Notes from the Architect |

How fast a landscape changes is quite astonishing to witness and how fast people cope up is more of a surprise. The influx happened in August 25 of 2017 and since then Rohingya refugees, local hosting communities as well as the reserved forests of Teknaf area have gone through unimaginable changes.

Rohingya refugees have been fighting with vulnerabilities in terms of basic shelter, health, nutrition and emotional state for a while now. Since the influx, Rohingya refugees took shelter on 4300 acres of hills and forests in Ukhiya & Teknaf and the region has been more caring of a host than any other places in the world. One of the largest and most dense camps have become temporary home of almost a million refugees. That includes hundreds and thousands of young minds who are going through the most vital changes in terms of age and current state. The days they pass in the camps will shape them, who they will be in near future.

UN agencies, Bangladesh Government and other organizations are supporting them in this difficult time so that in future they become less of a burden rather healthier minds that are ready to contribute. Thus safer spaces for young boys, girls and women play crucial roles in the camp environment.

For adolescent girls and women from the surrounding camp area, the centre offers a place to have a good bath a day, a place to complain about abuse and violence and a place where they can learn to create and share, thus a safe home. Managing social conflict between the refugees and host communities is also an issue in this context; and in our belief being a good host and sharing ethical ideologies will act as small efforts to prevent conflicts.

Socially engaging design and building process may benefit the participants in several ways. In our case, the outcome we noticed was that the male participants from the camp were eager to get their family members (wife, daughter, mother, sister) involved with the centre activities whereas there have been reports about restrictions and unwillingness in other centres. The centre becomes more vibrant and personalized by the colorful patterns painted by the community.

An opportunity to spend the day with the fellow women in the camp can bring psychological change and even their attitude towards their family members. “Quarrel among women and neighborhoods are a common scenario in the camps. I believe if women get the opportunity to gather in a centre like this, they will learn to keep peace wherever they go or live’’ -says Kala Hossain, one of the masons as he worked with us during construction.

Materials used in Safe Space for Women and Girls are very basic and available nearby. Untreated bamboo (as built on emergency basis and will decay in few years and need to be replaced with treated bamboo) as structure, straw/hay with tarpaulin as roofing material (requires change in 1 year interval and can be replaced with alternative durable materials for longer use). The site falls within a cyclone prone area and so we had to avoid materials that can be hazardous during cyclone.

It is also very near to Asian elephant habitat and one can often see elephants getting down from the hills at the backgrounds. The material and exterior scheme avoids disturbance for elephants. In most of the structures in the camp areas, blue and pink colours are used as a common scheme which is conflicting to human-elephant co-existence. We had to negotiate and avoid these colours in exterior surfaces. We rather keep the natural textures to merge the structure with the surrounding landscape. However, red and yellow colors don’t distract elephants either, so were used for interior court and several openings.

Power of form is universal and timeless. A very basic introvert court ensures privacy and freedom for women of comparatively a conservative society. The interior court connects the surrounding rooms into one space. The activity space and rooms are comparatively smaller than other centres but openings towards the courtyard give the essence of a larger space.

The exterior of the structure is ragged and tries to blend within the context. The texture, colour and setting are inspired by often seen ‘Paner Boroj’ (Betel leaf shades) within rice fields. On the other hand, the interior has the colours vibrant enough to make a cheerful essence. The pocket spaces within the form create opportunities to have the freedom and choice of spaces for the beneficiaries.

Aids from outside won’t continue for long. These displaced people even know that they won’t be here for long either. All they will be left with is themselves and each other’s help. And a centre like this can be instrumental in building tolerance and to become co-operative and empathetic, so that in the worst surviving days, they could resist the brutality of the world a bit more.

We have heard stories, how women of the community went through brutality and sacrifices to save their family. And then it is relieving to see their men working with love to make safer spaces for them.
-Rizvi Hassan
Sector Specialist (Architect)
BRAC Humanitarian Crisis Management Programme

Team:
Abdur Rahman, Kala Hossain, Anwar & others (refugee masons)
Abdullah Al Mamun
Biplob Hossain (Engineer)
Saad Ben Mostafa
Rizvi Hassan

20/02/2024

19/02/2024

𝗧𝘄𝗼 𝗕𝗮𝗻𝗴𝗹𝗮𝗱𝗲𝘀𝗵𝗶 𝗽𝗿𝗼𝗷𝗲𝗰𝘁𝘀 𝗵𝗮𝘀 𝗯𝗲𝗲𝗻 𝘀𝗲𝗹𝗲𝗰𝘁𝗲𝗱 𝗳𝗼𝗿 𝘁𝗵𝗲 𝗕𝘂𝗶𝗹𝗱𝗶𝗻𝗴 𝗼𝗳 𝗧𝗵𝗲 𝗬𝗲𝗮𝗿𝘀 𝟮𝟬𝟮𝟰 𝗯𝘆 𝗔𝗿𝗰𝗵𝗱𝗮𝗶𝗹𝘆...
Please support these projects and feel free to 𝗖𝗮𝘀𝘁 𝗬𝗼𝘂𝗿 𝗩𝗼𝘁𝗲𝘀...
𝟭.𝗦𝗵𝗮𝗵 𝗠𝘂𝗵𝗮𝗺𝗺𝗮𝗱 𝗠𝗼𝗵𝘀𝗵𝗶𝗻 𝗞𝗵𝗮𝗻 𝗠𝗮𝘂𝘀𝗼𝗹𝗲𝘂𝗺 / 𝗦𝘁𝗵𝗮𝗽𝗼𝘁𝗶𝗸...
Category: Religious Architecture....
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𝟮.𝗚𝗿𝗲𝗲𝗻 𝗙𝗶𝗲𝗹𝗱 𝗼𝗳 𝗞𝗮𝗿𝘂𝗽𝗮𝗻𝗻𝘆𝗮 𝗥𝗮𝗻𝗴𝗽𝘂𝗿 𝗙𝗮𝗰𝘁𝗼𝗿𝘆 / 𝗡𝗮𝗸𝘀𝗵𝗮𝗯𝗶𝗱 𝗔𝗿𝗰𝗵𝗶𝘁𝗲𝗰𝘁𝘀...
Category: Industrial Architecture....
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*Visit these above links and 𝗖𝗹𝗶𝗰𝗸 𝗼𝗻 𝗩𝗼𝘁𝗲 𝗙𝗼𝗿 𝗧𝗵𝗶𝘀 𝗣𝗿𝗼𝗷𝗲𝗰𝘁...

Vote for Green Field of Karupannya Rangpur Factory / Nakshabid Architects

03/02/2024

Zulrin: A Weekend Retreat Fused in a Bucolic Landscape...

Name: M A Kader Zeeshan & Ridwan Tanvir
Year: 2017
Location: Narshingdi, Bangladesh
Client: Md. Nasiruddin Chowdhury

The project blatantly symbolizes a fusion between urban-rural environment. Designed for a family from crowded capital, who are deprived of fresh air and sense of freedom and very much willing to reconnect with the bucolic life. The core idea of this built environment is to preserve the essence of the simplicity of our ancestors, once had back in their times and transcend some of that to the next generations, hence named after client’s two children as “Zulrin House”.

| Notes from the Architect |

Renzo Piano once stated “Architecture is a very dangerous job. If a writer makes a bad book, eh, people don’t read it. But if you make bad architecture, you impose ugliness on a place for a hundred years.”

We can’t agree more with this notion. However, it’s not only about imposing ugliness, it’s also about the human experience of the building and associated health and comfort of the occupants. Living in 21st century, we still tend to strive for radical simplification of form, a rejection of ornamentation, use of universal building material and aggravate “placelessness” through universal modernism. These acts often criticised for causing a setback to regional culture and identity. To counter the modernist approach, a new discourse, termed as Critical Regionalism, has emerged that put emphasis on the understanding of place and tectonics, its spatial and experiential qualities. It advocates for architecture that is responsive to local context and sensitive towards materials.

Following the same line of thought, we believe, architecture that strongly responds to the nature, becomes part of the landscape through its expression, and evokes a sense of belonging to its occupants. The level of abstraction and universal behavior could be achieved by recognizing the regional context, culture and vernacular strategies.

When the project was first commissioned, the program was just like a simple house with some additional functions. Initial program included 4 bedrooms, living space for a large gathering, dining space, study room, kitchen and caretaker room. Then we took the challenge of reformulating the program in a different way. Instead of 4 bedrooms, we proposed 3 bedrooms and an additional family living which would work as a makeshift sleeping space at night. We took the study room out of the main building and intended to make it a separate entity with a strong identity. We desired to reduce building footprint, through compact design and put more importance to semi outdoor spaces (e.g. veranda) that creates the dialogue between building and nature. A compact design would help to leave the whole site as green as possible.

The main building is east west oriented to catch the prevailing breeze from the south as well as to reduce the solar heat gain. However, this orientation exposes the building to the south sun and driving monsoon rain. Since this is a weekend house, we focused more on public and semi-public spaces like living, dining space etc. instead of bedrooms. The central living and dining space are the kernel of the building that has been accompanied by verandas in the southern periphery. Veranda works as a buffer space and protect the living space from direct sun and rain. This central double height space always stays cool due to its huge volume and constant cross ventilation. Operable high windows on the north side allows rising heated air to go out and induce a pressure variation inside that draws the south wind inside to create the constant cross ventilation.

Traditionally, “Kachari Ghar” concept was a widespread practice in rural architecture of Bangladesh. This project carries that idea in the form of a library. This single room seemingly floats over the water body, creates a sense of tranquility in and around the place.

Outdoor environment of the project is full of natural elements. The initial zoning of the master plan was done keeping all existing planted trees in mind. Landscape was recreated with common trees and plants, which were selected as a subtle blend to the local environment.

The best place to be in the late afternoon or early mornings in this warm humid region is the semi outdoor and outdoor space often open to sky. It has plenty of spaces like veranda, terrace, courtyards etc. The project displays several variations of spaces in different locations to have different feelings in different parts of the day. In addition to typical shaded veranda, we provided a double height veranda that add a grandness in the formal impression as well as in spatial experience. It also allows the tilted winter sun light to pe*****te through the louvre. There is another terrace on the north side adjacent to the family living space which overlooks the green paddy field behind the site.

The prime building material is gas burnt brick which is sourced within only 50km of the site. Brick is a very low embodied energy material. Aluminum section as the window frame. And woods (Shegun, Loha kath, Gorjon, Kerosin) for doors and furniture. All the furniture is custom made and built in the site. Besides, we used the leftover, broken bricks to cast landscape pavement blocks in the site.

The main structural system is basically a column- beam frame with supporting load bearing walls. Since we wanted to maintain the true expression of brick throughout, it was challenging to address the requirement of RCC in the columns. Hence, we came up with an idea of composite column that will have RCC surrounded by one layer of bricks. The roof is supported by inverted beam and its benefit is twofold. First, it gives a beam free clean ceiling especially in the double height section. Second, the inverted beam on the roof helps to retain filled earth for roof top green and planting.

As we wanted to design the reading space as a separate yet independent entity, we take it out from the main building and placed it along the west side boundary of the site with a water body right in front of it. The reading space has book storage facility and a small toilet with it, which now has its own quiet territory to focus on reading. We are terming it as library which has an open deck extending over the water body that give the chance to enjoy the subtle ripples on the water surface. The coolness due to the water body, the rhythmic reflection of water on the ceiling, and proximity to nature is a significant visceral experience that we wanted to create.

Project Team:

Lead Architect[s]:

M A Kader Zeeshan

Ridwan Tanvir

Consultant[s]:

Structural Consultant: Engr. Rakibur Rahman

Electrical Consultant: Engr. Niloy Das & Engr. Humayun Kabir Biddut

Interior Design: M A Kader Zeeshan & Ridwan Tanvir

Landscape Design: M A Kader Zeeshan & Ridwan Tanvir

Photographer: Noufel Sharif Sojol

28/01/2024

The traditional courtyard housing is rapidly disappearing from all suburban areas due to urban aggression. In tropics, the significant precipitation rate, humidity, bright sun, water bodies and vegetation all together help to prepare a comfortable life inside and outside with the wise arrangements and orientation of functions both horizontally and vertically, which are attempted to achieve in the Sabuj Pata Residence at Savar, Hemayetpur. The residence is skillfully designed by Asia Karim under the firm, Indigenous. Naim Ahmed Kibria, Proddut Basak, Md. Abdul Momit Talukder, Eva Akter worked in the design team while Mir Enayet Hossain did the structural design.

The 12.08 katha land space has a ground coverage of 206.36 sqm. The open plans help cross ventilation through the building and the triple-height void acts as a stack ventilator. Along with this void, the courtyard is set to the east looking south to draw the light and breeze.
The benefit of living in nature with urban facilities and all environmental features within a bounded premise has been reflected in the conscious neighbours through this intervention.

The location of the project is only 21 km west of the city centre and 10 km west of the periphery of Dhaka metropolitan area. The rapid growing urbanization of Dhaka city is penetrating in this area and hence the destruction of green fields, water ponds and small reservoirs and selling land to new settlers are very common phenomena of this locality. The pressure of rapid urbanization and industrialization also has been interrupting the natural settings and the living pattern of the inhabitants of this area. The key constraint of the project was the budget of the client. So, the construction phases were composed thoughtfully.
The blocks are divided into three parts. The three-storied block on the north and the two-storied block on the south, with an articulated triple-height space connecting the two. With the completion of construction of the north block, the tenants started to reside. They had a small bedroom, a pantry, a washroom and the kitchen to begin with. And slowly afterwards, the rest of the spaces began to take shape.

The ground floor plinth is elevated to the extent where it subtly meets the bare earth and that seems to sip into the living room space. The stairs elevating around the triple-height dining space keeps you connected throughout the space. Where one’s eyes flow from all corners of the house, never separating anyone. The elongated connectedness of the two blocks opens up a semi-private open space adjacent to the dining.

A home is where life connects and unites us among ourselves, the surrounding environment, branches and canopies of trees, aqua life, birds, insects etc, connections with the natural elements, neighbours. Receiving rain from balconies, terraces and roofs are a very simple desire but immensely important that has been missing in contemporary architecture in Dhaka because of the high demand for financial benefits. Locally available materials, local skilled masons with simple techniques are intended to produce a breathable and lively realm despite the budget constraints and communication difficulties. The pigeonhole architecture has been wrongly setting an imprint on the mind of outskirt landowners and poisonously affects the life of these regions.

Porosity and transparency are achieved for plans, where the architect felt that the earth should meet the sky. The verandas are constructed from steel membranes with wooden planks to let the rainwater seep through. Creepers and trees cradle the texture of brick and raw concrete and let the wood and glass pave the way for the earth and sky. The wastage reinforcement bars are fixed as simple trellis above all openings, intended to create the shading devices with the help of creepers and foliage.

17/01/2024

Feni College War Memorial Complex | Vector Plinth...

Name: Vector Plinth
Year: 2023
Location: Feni Govt College, Feni, Bangladesh
Client: District Commissioner, Feni, Bangladesh
Designed as a memorial, the monumental structure rises in a landscape that includes an amphitheater, memorial plaques, walkways and benches surrounded by attractive greenery and serves as a ceremonial center for the people of Feni.
| 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 6th, 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.

The once-abandoned area has become a ceremonial place to socialize and commemorate the history of Feni College Boddhobhumi.

Architectural Firm: Vector Plinth

Lead Architect: Muhammad Jabed Iqbal Rupam & Mohammad Faisal Sabri

Design Team: Md Jahirul Islam, Sabrina Lipy, Jahid Hossain

Structural & Plumbing Engineer: Pratim Bhuiyan

Project Co-Ordinator: Rana Nag

Site Supervisor: Abdullah Al Masud Tareq

Landscape & Lighting Design: Vector Plinth

Documentation and Illustration: Mouna Noor Al-Fatimy

Photography: Asif Salman

Email Id: [email protected]

Website: www.vectorplinth.com

Social Media: https://www.facebook.com/Vectorplinth