A Glimpse into the PK Sen Bhaban

Constructed in the 1920s by Zamindar Prasanna Kumar Sen, the PK Sen Bhaban stands as a testament to Chittagong’s architectural legacy. The building’s unique design combines elements of subcontinental Hindu temples, Islamic motifs, and European Gothic influences. Though only four stories high, the dome and towering minarets add the illusion of seven stories, making it one of the tallest structures in Chittagong during the British era.

The building features wide windows, geometric ventilators, and hexagonal shapes that are rare in traditional South Asian architecture. It houses over 40 rooms and includes two grand staircases, further adding to its charm. PK Sen, a rice and oil trader with a generous spirit, envisioned this architectural masterpiece to reflect his stature and success.

The URONTO Residency Experience

In 2016, the URONTO team selected the PK Sen Bhaban for its fifth season of artistic exploration. This initiative brought together national and international artists who reimagined the essence of the building through various creative expressions. Participating artists included talents from India, Brazil, Hong Kong, and Bangladesh, along with students from the Chittagong Fine Art Institute.

What made this residency particularly unique was that the building was not abandoned. It still housed tenants, including members of the Ghosh family, the building’s current owners. This dynamic environment provided an extraordinary opportunity for artists to engage directly with the living history of the space.

The Legacy of PK Sen Bhaban

Beyond its architectural brilliance, the PK Sen Bhaban is a silent witness to the evolving history of Chittagong. During the Partition of 1947, PK Sen sold the building to Sadananda Ghosh, and subsequent years saw the structure endure significant trials, including damage during the Liberation War of 1971. The war left the building scarred, with broken windows, looted possessions, and a tragic loss for the Ghosh family.

Despite these adversities, the building continues to stand—a symbol of resilience. Its rich history, however, is overshadowed by decades of neglect. Crumbling plaster, broken staircases, and a lack of maintenance threaten its survival.

Challenges in Preservation

Efforts to preserve the PK Sen Bhaban have been sporadic and largely ineffective. While the Chattogram Development Authority recognizes the building’s cultural significance, bureaucratic hurdles and financial constraints have stalled any concrete steps toward restoration. The current owners, frustrated by the lack of support, even considered demolishing the structure to make way for new developments.

Urban planner Zarina Hossain and architect Huda Mohammed Faisal have highlighted the architectural rarity of the PK Sen Bhaban. Their advocacy underscores the need for immediate action to prevent the loss of this irreplaceable heritage site.

A Call for Action

The neglect of PK Sen Bhaban mirrors a broader issue: the undervaluation of heritage buildings in Bangladesh. These structures are not merely relics of the past; they are living connections to our history and identity. As I walked through the crisscrossing stairs and gazed at the intricate designs, I felt both pride and sorrow. Pride in the legacy of my city, and sorrow at the risk of losing it forever.

The government, local authorities, and heritage organizations must collaborate to restore and preserve the PK Sen Bhaban. Public awareness campaigns, grants for restoration, and inclusion in heritage tourism could breathe new life into this architectural gem. Initiatives like the URONTO residency play a vital role in reintroducing these spaces to the public, reminding us of their cultural and artistic value.

Conclusion

My visit to PK Sen Bhaban was a transformative experience. It deepened my appreciation for Chittagong’s heritage and reinforced the urgency of preserving it for future generations. The grandeur of the PK Sen Bhaban may have faded with time, but its spirit endures. It is a symbol of our city’s resilience and creativity—a legacy worth protecting.

Through collective effort and a renewed sense of responsibility, we can ensure that structures like PK Sen Bhaban remain standing, not as ruins of the past, but as proud monuments to our shared history.

I am originally from Bangladesh, where I lived for 26 years, mainly in a village within a large family. From a very young age, I observed with fascination the objects, materials, ways of dressing, architecture, and lifestyles around me. These early impressions deeply influenced my artistic and cultural sensitivity.

The Discovery of France and its Cultural Contrasts

My arrival in France led me to reflect on the different ways of building and living between distinct cultures. For example, the marble and stained glass I discovered here in France are absent in Bangladesh, where earth is often used for constructions. I have precious memories of my childhood home, built of earth. Just before my departure for France, my family decided to rebuild it with bricks. These cultural differences fascinate me, especially when observing architecture. The first thing that greatly interested me in Europe was the architecture, influenced by my village earth house where I spent my entire childhood.

Bangladeshi Architecture: A Rich and Fragile Heritage

The architecture of Bangladesh is rich, as evidenced by the Kantaji Temple in Dinajpur, a significant structure made of terracotta. The door is a crucial part of architecture, symbolizing entrance and exit. An anecdote from my life ties me to this door: in 2017, during a trip from Chittagong (southern Bangladesh) to Thakurgaon, I attempted to visit the Kantaji Temple located 574 km to the north. Unfortunately, the entrance was forbidden due to the temple’s degraded state and the fragility of the terracotta in the face of humidity. I felt sad and thought that the temple might have been more resistant if it had been built with marble or a more solid material.

The Influence of French architecture on My Art

Later, I found pieces of broken marble stone next to the painting studio at ISBA, on which I drew with watercolor and markers, influenced by Mughal and Persian miniature painting. These works reminded me of my village home and enriched my artistic approach by incorporating materials I was discovering in France.

My Journey in France: From Discovery to Inspiration

My first visit to France was at the end of March 2018. I spent two months in Besançon, and the building of the Fine-Arts Museum (Musée des Beaux-Arts de Besançon) particularly interested me, even though it was under renovation and I couldn’t enter. Fortunately, after a few months, I had the opportunity to return to France. In November 2019, I finally had the chance to visit the museum.

This journey, from my village to the museum, allowed me to see and appreciate the diverse forms and materials of architecture, enriching my understanding and appreciation of various cultures around the world. I have a particular sensitivity to architecture because in Bangladesh, I grew up in a mud house, but my family decided to demolish it to build a new house out of baked brick.

Architectural Evolution and the Loss of Heritage

In Bangladesh, a densely populated country, people prefer large modern buildings, which leads to the loss of our architectural heritage. This rapid and sometimes brutal transformation of landscapes and traditional ways of life compels me to integrate these reflections into my art. In France, I have discovered not only new materials but also a new way of understanding space and cultural memory.

Celebrating and Preserving Cultural Heritage

Through my works, I seek to celebrate and preserve cultural heritages while exploring the interactions between different cultures. My art becomes a bridge between the past and the present, between Bangladesh and France, allowing us to question and value the richness and fragility of our respective heritages.

By enriching my artistic practice with these experiences, I aim to offer a new perspective on the resilience and beauty of architectural traditions while encouraging a respectful and inspiring intercultural dialogue.

On my first visit to Rennes, the half-timbered buildings immediately captivated me. Perfect embodiments of the fusion between tradition and modernity, these structures are very different from what I know in my country, Bangladesh. Highly decorated and colorful, they particularly appealed to me, offering a striking contrast to the modern architecture also found in the city.

As a student at the University of Rennes 2, I have had the opportunity to get involved in several activities alongside my studies. For example, I volunteer for AFEV, an organization that supports children and teenagers in various activities to discover the city. I also participate in the Buddy System, a program that allows meeting French and international students to discover their culture and do sports and visits together.

I have also taken part in the “Mix ta fourchette” activity, which allows exploring cuisines from different cultures. I participated in this activity twice with Erasmus students, which gave me a lot of pleasure in tasting food from different countries and sharing the cuisine of my own country.

Fusion: Tradition and Modernity

I find that Rennes is a fusion of old and modern architecture, allowing one to discover both history and contemporary life. Personally, I greatly appreciate old architecture, but I find modern buildings more practical to live in. However, sometimes these modern structures lack color and joy.

I have a particular sensitivity to architecture because in Bangladesh, I grew up in a house made of raw earth, but my family decided to demolish it to build a new house with fired bricks. In Bangladesh, a very densely populated country, people prefer large modern buildings, which leads to the loss of our architectural heritage. It makes me sad to see this heritage disappearing. I think it is important to adapt and accept changes while preserving our traditions and finding inspiration for the future.

An artistic collage between past and present

This year, with the University of Rennes 2, I participated in a workshop called “Projet Vacéer,” focused on artistic creation and student engagement in public spaces. At first, I felt a bit lost trying to find the connection between my student engagement and the public space. I started drawing different ideas, inspired by my interest in architecture. I took photos of architecture while walking around the city center, particularly of the half-timbered buildings.

I printed the photos, cut out the parts that interested me, and glued these pieces of half-timbered buildings with elements of modern buildings. I hand-drew certain parts to create a unique composition. Using watercolor paint on the photos, I created a panoramic collage of the city of Rennes.

Using photography and printing is a modern technique, while drawing and watercolor are traditional methods. This blend of techniques is essential for my work as it reflects the fusion of old and contemporary architecture. This approach resonates deeply with my life, my artistic passion, and my student involvement in France. It also highlights the importance of culture, the cultural changes between Bangladesh and France, and the evolution between ancient and modern times.

The process of creating this panoramic collage was a true artistic exploration for me. By layering photos of the half-timbered and modern buildings of Rennes, I was able to capture the essence of the city, which harmoniously blends tradition and modernity. The collage technique, combined with watercolor, not only creates a visually pleasing aesthetic but also tells a story. Each brushstroke, each cut, and photo collage symbolises how elements from different eras can coexist and enrich our environment.

Reflection on architectural evolution through art

This artistic project allowed me to reflect on the importance of preserving our heritage while embracing innovation and progress. The half-timbered buildings of Rennes remind me of the ancient structures in my country, while the modern buildings symbolize the future. By combining these elements, I was able to create a piece that celebrates this duality and highlights the necessity of finding a balance between the past and the present.

In conclusion, my experience in Rennes and at the University of Rennes 2 has offered me a valuable opportunity to express myself artistically while engaging with the local community. The “Projet Vacéer” project helped me better understand how my student engagement could translate into a public and artistic context. Through this panoramic collage, I not only explored the architectural richness of Rennes but also discovered a way to connect my cultural roots with my life in France. This experience has strengthened my desire to continue creating works that celebrate diversity and cultural evolution while honouring the traditions that shape our identity.

The Jatiya Sangsad Bhavan, or National Assembly Building, is the seat of the Parliament of Bangladesh, located in the capital Dhaka, Sherebangla Nagar. Spanning 840,000 square meters, this legislative complex is one of the largest in the world, designed by Louis Kahn.

Historical context and conception

Louis Isadore Kahn, an American architect of Estonian origin based in Philadelphia, began construction in October 1964 when Bangladesh was still known as East Pakistan. The project was commissioned by Ayub Khan, from the capital of West Pakistan, Islamabad, with the aim of pacifying the Bengalis by building a modern legislative complex.

The Jatiya Sangsad Bhaban was designed to reflect Bengali culture and heritage while optimizing the use of space. With the gentle assistance of the government, South Asian activist and architect Mazharul Islam recommended engaging the world’s best architects for the project. Islam initially attempted to recruit Alvar Aalto and Le Corbusier, but they were unavailable. Thus, he turned to Kahn, his former professor at Yale. Construction was interrupted during the Bangladesh Liberation War in 1971 and was completed on January 28, 1982, after Kahn’s death.

Aesthetic Uniqueness with Symbolic Significance

Kahn designed the entire Jatiya Sangsad complex, including the lawns, lake, and residences for the Members of Parliament (MPs). Kahn’s design philosophy aimed to represent Bengali culture while maximizing spatial efficiency. The exterior of the building is remarkable for its simplicity, with massive walls deeply recessed by porticos and large openings of regular geometric shapes.

The main building, at the center of the complex, is divided into three parts: the Main Plaza, the South Plaza, and the Presidential Plaza. An artificial lake (Crescent Lake) surrounds three sides of the main building, extending to the parliamentary accommodation complex. This skillful use of water to reflect the riverine beauty of Bengal adds aesthetic value to the site.

Kahn’s philosophy and international recognition

In the words of Kahn himself:

“In the assembly I have introduced a light-giving element to the interior of the plan. If you see a series of columns you can say that the choice of columns is a choice in light. The columns as solids frame the spaces of light. Now think of it just in reverse and think that the columns are hollow and much bigger and that their walls can themselves give light, then the voids are rooms, and the column is the maker of light and can take on complex shapes and be the supporter of spaces and give light to spaces. I am working to develop the element to such an extent that it becomes a poetic entity which has its own beauty outside of its place in the composition. In this way it becomes analogous to the solid column I mentioned above as a giver of light.”

https://www.archdaily.com/83071/ad-classics-national-assembly-building-of-bangladesh-louis-kahn

The National Assembly Building received the Aga Khan Award for Architecture in 1989.

Architecture: A symbol of independence and challenge

For a new country like Bangladesh, this architecture played a crucial role in announcing its independence to the world. In my artistic creations, I aim to pay tribute to this great architect on behalf of my country. When I found this broken piece of stone, its shape and color reminded me of the National Assembly Building of Bangladesh. But why a broken shape? Because it is the most important building for a country, where members of parliament swear to serve the people and where the president enacts crucial laws.

Personal reflections and criticism

Bangladesh is a country where corruption is endemic. Laws are passed but often not enforced, and parliamentarians swear to serve the people, but this oath is often overshadowed by nepotism and personal interests. It deeply saddens me. I have seen this magnificent building from the outside, but I have never had the chance to see it from the inside, as access is restricted to ordinary people.

Thus, through this artistic tribute, I not only wish to celebrate the architectural beauty of the Jatiya Sangsad Bhaban but also to express my pain and criticism towards the socio-political realities of my country.