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.

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.