INFORMATION – June 5, 2019 Frankfurt/Main

BENGAL STREAM The vibrant Architecture Scene of

June 7, 2019 – October 20, 2019 Deutsches Architekturmuseum (DAM) Schaumainkai 43, Frankfurt am Main

EXHIBITION OPENING: Thu, June 6, 2019, 7 p.m.

PRESS CONFERENCE: Wed, June 5, 2019, 11 a.m.

GUIDED TOURS: On Saturdays and Sundays 3 p.m.

OPEN: Tue, Thu — Sun 11 a.m. — 6 p.m. \ Wed 11 a.m. — 8 p.m. \ Mon closed

SOS Youth Village and Vocational Centre; Mirpur, ; Architect: C.A.P.E \ Raziul Ahsan © Iwan Baan

ABOUT THE EXHIBITION 2 THE VIBRANT ARCHITECTURE SCENE OF BANGLADESH 3 SELECTED PROJECTS 6 ACCOMPANYING PROGRAM 10 PUBLICATION / IMPRINT 11 COMING SOON / CONTACT 13

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Bengal Stream – The vibrant architecture of Bangladesch Frankfurt / Main, 05.06.2019

BANGLADESH’S ARCHITECTURAL LANDSCAPE IS MASALA (BENGALI: মাসালা) – AN INTOXICATING MIX OF CONTRASTS.

An exhibition by the S AM Swiss Architecture Museum, produced in collaboration with the Bengal Institute for Architecture, Landscapes and Settlements, Dhaka. Curated by Niklaus Graber, Andreas Ruby and Viviane Ehrensberger.

Only a few of us are likely to be familiar with current architectural developments in Bangladesh‘s tropical delta region. This area, blessed with cultural and scenic riches, has so far barely been present on the architectural world map, but that may change in the near future, due to excellent works emerging from a vibrant architecture movement. The output of this »Bengal Stream« is not just highly controversial in a spatial and architectural sense, it also bears witness to the high societal relevance of architecture as a discipline. Via local action, carefully developed from the country‘s specific history and geography, current trends in Bangladesh are taking on global significance. Participatory low-cost, environmental or social projects are often undertaken by the same designers who also get commissions from a growing middle class and from the urban high-end price segment.

Although the protagonists among the generation of architects setting the agenda today have defined individual focal points with their projects, they are interconnected as a community by a lively professional exchange and higher-level objectives. Like an unrelenting tide, more and more players are helping this still-young profession to get established and supporting an awareness of the local culture without closing their minds to global influences. In the largest delta region on Earth, veined by thousands of rivers, people seem to be aware that every kind of living culture is a combination of the inherent and the foreign.

Thus, Bangladesh‘s contemporary architecture movement follows in the footsteps of the grand master Muzharul (1923-2012), whose original drawings are exhibited here for the first time outside his home country. strived to mediate between tradition and the modern, while absorbing the local and the international to equal extents in his architecture. It was in keeping with his personal understanding of intercultural dialogue to bring western protagonists to his homeland for important construction projects, such as his teacher and his college friend , both of whom he met when studying architecture in the USA, and ultimately Louis I. Kahn.

»Bengal Stream« does not present a romantically glorified view of Bangladesh‘s architectural development; instead, this exhibition has arisen from a wish to learn more about the architectural approach to substantial questions: What does it take to allow good architectural spaces to emerge? What materials make sense where and for which purposes? How can these have an effect? How can natural illumination and ventilation provide added value, not just in an economic sense, but also in terms of design? Here, it becomes clear that pioneering architecture is based on universally valid architectural elements, such as light, space and proportion, regardless of site-specific limitations. »Bengal Stream« offers an invitation to go on a journey and to see one‘s own culture in a new way via discovery of another.

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Bengal Stream – The vibrant architecture of Bangladesch Frankfurt / Main, 05.06.2019

THE VIBRANT ARCHITECTURE SCENE OF BANGLADESH (by Andreas Ruby)

The fact that the Swiss Architecture Museum is producing the first major exhibition on contemporary architecture from Bangladesh ever shown outside the country begs a question or two. Such as: Why Bangladesh, of all places? And what makes architecture from Bangladesh particularly relevant to be shown in Switzerland, or in the Western world in general? A lot, actually. Bangladesh is not as far away as it seems. You may even wear a piece of clothing produced in Bangladesh as you read this, since Bangladesh is the world’s second largest exporter of Western clothing brands. But for a long time the only moments we heard about architecture in Bangladesh was when one of its textile factories tragically collapsed due to structural incapacities or fire incidents. It seems a cynical association, but it illustrates only too well how much our western view of Bangladesh is conditioned by references such as poverty, precarious labour or natural catastrophes. These phenomena are still real, but they also brand the global perception of the country in a stereotypical way and effectively obfuscate positive developments that are under way as well.

And architecture is one of them. Largely unbeknownst to the world, Bangladesh has developed a highly prolific contemporary architecture scene in the course of few decades only. A stunning body of work has emerged, which can easily stand the comparison to the architectural production in the West both in terms of its quality, versatility and originality. The fact that we hardly know anything about it (myself included, until a year and a half ago) says something about the post-colonial blindfolds of architectural discourse in the West. Buildings from Bangladesh very rarely get published in Western architectural magazines or books, and even online it is difficult to find more than piece-meal information.

The only exception to this rule is a building by a Western architect: ’s Assembly Building in Dhaka. The building is clearly one of the great mythical masterpieces of 20th century modernism, world- famous and yet visited by only a few. But maybe at least as interesting as the building itself is the cultural dialectics out of which it emerged and how it eventually empowered the unfolding of contemporary Bangladeshi architecture. It is the fruit of a most unlikely cultural dialogue that was initiated by Muzharul Islam, who is considered to be the first modern architect in the region. Islam had studied architecture at Yale in the US in the ’50s and ’60s with Paul Rudolph among his professors. Coming back to East (which was to become Bangladesh only in 1971), he re-read the traditional Bengal building culture through the lens of Western modernism and construed a unique blend of both Eastern and Western approaches to space. When Dacca needed a new Assembly Building in 1962, he would have been ideally placed to design it. Committed to enhancing the process of cultural cross-proliferation, he however proposed to approach an international architect of renown to do the job. Kahn was elated to be chosen and immediately embraced the history of architecture of the Bengal region. Sensibly guided by the intellectual company of Islam, Kahn unearthed many inspirations that have left clear traces in his design. He seized the Assembly Building as an opportunity to absorb the building , appropriating local material and construction techniques to ground his own idiosyncratical architectural approach within the place he was invited to design. In that sense the Assembly Building became the blueprint for a ‘horizontal ’ type of cultural globalization which considers all contexts as equally relevant, both worthy and able to inspire each other. It marks a clear departure from the ‘vertical’, topdown colonial application of a Western model in a developing context. When the building was finished in 1982/83 – after two decades of development, construction, and politically motivated delays – the emerging architects of Bangladesh promptly picked up on this model of horizontal cultural exchange and grasped it as an opportunity to articulate their local architectural approach in relation to Western modernism. But instead of simply copying Kahn’s approach, they applied his technique of cultural absorption in reverse direction.

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Embracing some of his construction methods and spatial concepts in their own designs ultimately enabled them to modernise the rich architectural history of their own country, rather than uncritically replacing their local tradition with mechanically applied formulas imported from the ‘New World’. This fascinating cultural dialectic has arguably empowered Bangladesh’s contemporary architectural scene to unfold a highly distinctive architectural language of its own, which sensibly resonates with the agendas of global architecture. It is a very robust, simple, direct and sensual architecture, that makes do with often very limited material conditions, yet accomplishes exceptional results. It is able for instance to accommodate the extreme climatic conditions with very modest technological equipment by using simple fans and vernacular natural ventilation methods instead of extensive air-conditioning. It is quite the contrary to our Western culture of construction where buildings deal with much more moderate climatic conditions through much more elaborate technological systems. Additionally, architects in Bangladesh have only a few materials to build with. Since there are no resources of natural stone in the country, the available material palette mostly consists of brick, concrete, bamboo and mud – materials which can be locally sourced and manually applied by local workforce. Because of this restrained access to technology, architecture in Bangladesh has always placed more emphasis on sophisticated layouts of space and the smart use of natural resources such as light, air, plants, and water. In that sense the conditions of building have changed less over time compared to the West, where rapidly changing technological paradigms have often generated corresponding ‘-isms’, such as Californian case study architecture of the 1950s that thrived on light airplane production facilities, or the architecture of prefabricated plastic modules from the 1960s made possible thanks to the easy availability of oil, or British high-tech architecture from the 1980s. While it is easy to date Western buildings from these periods based on their material and constructive specificity, buildings built in and later Bangladesh in the same period have a lot in common with each other conceptually and aesthetically because they generally use the same construction processes and materials. Thus, buildings from young architects often do not ostensibly differ from buildings of older architects (and vice versa), which creates a notable absence of the fashion-based cycles of architectural expression which have become an increasingly recognisable phenomenon of Western architecture during the past decades.

Interestingly enough, many of these qualities of Bangladesh’s contemporary architecture are increasingly sought after by young architects in the Western hemisphere, too – particularly in Switzerland – which in part answers the question why it makes good sense to introduce this architecture to a Western audience. There is a growing interest in a language of form, whose historical half-time exceeds the pretence of its newness, and a certain generosity of authorship free of the need to always outsmart one’s predecessors with a yet more radical solution. As issues of sustainability today become increasingly important, architects are more inclined to build with locally available construction materials, not without rediscovering vernacular building techniques that had been half-forgotten along the way in the name of progress, such as rammed-earth or traditional timber constructions. Wary of current technological solutions that pretend to make buildings more sustainable yet often do not, such as exterior thermal insulation or controlled ventilation, more and more architects are eager to employ common-sense techniques that had been in use for centuries prior to the industrial revolution.

One of them is Swiss architect Niklaus Graber, co-founder of Graber & Steiger Architects based in Lucerne, who is the curator of this exhibition. Initially, it was Kahn’s legendary Assembly Building that drew him, like so many architects, to Bangladesh. When he saw the building for the first time, he shortly pondered the option to stop working as an architect. ‘Everything you could possibly do in architecture seemed already done by him, so it felt as if there was nothing left to do for the rest of us,’ he told me when we first met. Luckily for him and us he then got introduced to a whole group of local architects and their buildings in and around Dhaka, which made him more hopeful again that there may be a life after Kahn

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after all. Their buildings demonstrate how one could digest Kahn’s legacy and construct a contemporary architectural thesis on its grounds.

After this initial visit he went back to Bangladesh many times and developed a thorough understanding of the local architectural scene. He brought his architecture students from Lucerne University of Applied Sciences and Arts to Dhaka and was later invited to be a visiting lecturer at The Bengal Institute of Architecture, Landscape and Settlements in Dhaka. Through years of continuous curiosity and relentless research he has built up a unique knowledge base on contemporary architecture from Bangladesh. He strongly feels that his architecture friends in Bangladesh, building under often most precarious conditions, somehow managed to dig deeper into the flesh of architecture than architects in the West operating in much more advantageous circumstances. We agreed that this paradox begs to be addressed critically, and after he had shown me some photographs of crucial examples of recent architecture from Bangladesh, the idea of an exhibition at S AM was born. This was in March 2016. If only one-and-a-half years later the Swiss Architecture Museum can inaugurate this exhibition and present the catalogue, then this is first and foremost thanks to Niklaus Graber’s unwavering passion and energy to explore and disseminate this remarkable heritage of contemporary architecture, exposing the fact that Bangladesh is not a white spot on the world architectural map, but in fact a highly cultivated and rich territory from which we can learn a lot. We are also grateful to the Bengal Institute of Architecture, Landscapes and Settlements for their valuable collaboration, which has been instrumental in the production process of the project by adding their resources, know-how and network. We feel this exhibition comes at a crucial moment, since architecture from Bangladesh is getting more and more the international acknowledgement it deserves. In 2016, two of the six prestigious Aga Khan Awards for Architecture were given to two architects from Bangladesh. With this exhibition and the accompanying catalogue – the first comprehensive survey of Bangladesh’s architecture in the Western world – the Swiss Architecture Museum intends to further the awareness of this outstanding work, and we would not be surprised to see buildings from some of the architects featured here to pop up also outside of Bangladesh in the near future.

Introduction of the catalogue Bengal Stream– The Vibrant Architecture Scene of Bangladesh.

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SELECTED PROJECTS

ARCADIA SCHOOL ALIPUR, KERANIGANJ Architect: Sthapati

The project is situated near Savar in the north of Dhaka. The project is a multipurpose structure that will function as a preschool, a livelihood training centre for women and a weekly health clinic. The lightweight amphibious structure has a substructure of used steel drums with bamboo framing to facilitate floating, while the rest of the structure including the floors, walls and roof are made mostly of bamboo. The curvilinear roof draws inspiration from the roofs of traditional boats of Bangladesh. Four classrooms and an open deck for plants are arranged in a row and connected by a long corridor. In a second stage, washrooms, a sink and small kitchen will be installed next to the entrance of the structure. In its trial operation the structure has withstood three monsoons, one during construction and the other two after completion. Few issues have been experienced with this experimental work and remedial measures have been taken to address them. The performance is under observation for refinement and development.

Shortlisted project for the 2019 Aga Khan Award for Architecture.

ARCHITECT’S FAMILY HOME & STUDIO FARMGATE DHAKA Architect: & Associates

The architect’s family home and studio is situated in a high-density urban area of Dhaka. The architectural programme was to create a home and a studio on a piece of land measuring 670 m2. The home was planned within a square of 10.2 °ø 10.2 m with two floors, the studio measures 6 °ø 13.7 m, with a mezzanine floor above the garage. The design of the building was conceived as L-shaped in order to channel the prevailing south-eastern wind into the building and to create a distinction between the privacy of the home and the office. The visual separation between them was created by a vault opening, providing access to the office. Brick walls enclose the built form, forming solid walls in the west and small openings in the east wall. The north and south walls have sculpted openings with enough depth to protect the wooden windows from rain and to bring in light and air. In the courtyard, rain and storms can be experienced while being protected from noise and pollution from the outside. The builders of the earliest Indian history were called taksan, carpenters. If we look at some of the significant architectural work of recent times, it becomes obvious how well-crafted these buildings are, irrespective of the material used. This crafting is an expression of the memories of the culture and symbolic of the place. The embellishment of the interior of the architect’s home with artisan craftwork is a celebration of the notion that architecture is a craft itself.

BAIT UR ROUF MOSQUE FAYDABAD, DHAKA Architect: MTA / Marina Tabassum Architects

Bait Ur Rouf Mosque is an attempt to trace the lost glory of Bengal yet representing the very essence of contemporary expression. The project is located in the northern expansion of Dhaka, a fast growing community of lower-middle-income families. The 670 m2 of area donated for the mosque are flanked by roads on the west and south. The site axis creates a 13-degree angle with the axis o qibla, the direction that should be faced during prayer, which called for an innovation in the layout. In addition, the rapidly urbanising location of the project site demanded an internalised planning that enhances the use of light as a spiritual element. Three volumes were introduced, one inserted within the other to create a

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sequence of spaces. The outer-most volume is a 23 °ø 23 m square of 7.6 m height, that is situated parallel to the road. A cylindrical volume is then inserted into it that facilitates the rotation of the prayer hall while simultaneously formulating light courts on four sides. Ancillary functions such as the entrance courts, ablution and toilet facilities, Imam’s office and stairs are located within the space created by the outer square and cylindrical volume. The materials used are very basic and raw due to the low budget. Brick, as load-bearing walls form the outer envelope of the mosque; the prayer hall is a pavilion in concrete wrapped with a brick facade. The porosity created by the laying of brick allows natural ventilation into the space while ornating the facade, giving the essence of the rich legacy of mosque architecture in Bengal with a contemporary expression.

FRIENDSHIP CENTRE GAIBANDHA Architect: URBANA /

The low-lying land located in rural Gaibandha where agriculture is predominant is under threat of flooding if the embankment encircling the town and peripheries breaks. An extensive programme with a very limited fund meant that raising the complex above flood level, a height of 2.5 m, was not an option. Being in an earthquake zone and the low-bearing capacity of the silty soil added further complications. The design thus relies on a surrounding embankment for flood protection while building directly on existing soil in load-bearing masonry. Rainwater and surface run-off are collected in a network of internal pools and the excess is pumped to an excavated pond, also used for fishery. The design relies on natural ventilation and cooling, being facilitated by courtyards and pools; and the earth covering on the roofs. An extensive network of septic tanks and soak wells ensures that the sewage does not mix with floodwater during recurring floods. The predominant material is local hand-made bricks – both for construction and as finish material – a choice governed by economic constraints as much as by traditional and historical references. It was an intention from the beginning to use locally produced bricks and to encourage local manufacture. The architecture is inspired by the remains of Buddhist monasteries (7th century onwards) and by the settlement of Mahasthan, from 3rd century BC, not far from the site. Strict geometry and broken forms exist together to create spaces which are spare and meditative, simple yet luxurious.

GULSHAN SOCIETY MOSQUE GULSHAN, DHAKA Architect: URBANA / Kashef Mahboob Chowdhury

The plot for this mosque was very small but nevertheless the mosque was to accommodate a large congregation. This necessitated re-imagining the mosque typology into a vertically stacked volume. The limitation meant the entry-court prayer-hall sequence had to be substituted for a pragmatic approach. The entrance, for example, is immediate: a flight of steps from the walkway directly leads to the main vestibule and prayer hall. All floors are accessible by generous stairs and elevators, taking visitors to six upper levels. All interior spaces benefit from good penetration of natural light and ventilation. The latter is made possible by the employment of a jali or screen structure, which wraps the building – generating its unique form and façades. The jali is an abstraction of ‘La-ilaha-illallah’ – a fundamental declaration in Islam – in the thousand year old Kufic script, which runs continuously in bands on all four sides. The structure is held entirely in white cast concrete, giving it the appearance of a monolith in the city. The topmost floor is left entirely to a library and meeting room, so that members of the community may spend time here outside of prayers. The mosque thus becomes a venerable centre for a modern and dynamic society.

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LOOM SHEDFOR AMBER DENIM GAZIPUR Architect: Archeground Ltd.

The project was inspired by traditional houses in Bangladesh sheltering ordinary people built by those with no architectural training but who are more concerned with fulfilling their needs and what was suitable for the climate. The building is placed within a natural setting located at a factory premise in the outskirts of Dhaka. The layout was kept as simple and open as possible to house several loom machines, a buyers’ lounge, and dining for workers, prayer space, and toilets. The introduction of a water body, bamboo screen, high ceiling and other vernacular elements substantially reduced electricity costs by eliminating the need for air conditioning and artificial lighting and makes the space cool and comfortable to work in while keeping the running costs low. Most of the materials used are by their very nature durable: concrete walls, handmade concrete roofing tiles, bamboo for screen and wall, neat cement-finish floors, and are used in ways and places that allow them to show their wear and provide easy repair and replacement. This project is an attempt to achieve or address the contemporary idea of practice in a recent period-of-time frame in the tropic under the domain of traditional modernism, following basic vernacular principles in design, using locally available materials, both natural and crafted, with modern amenities inside.

Shortlisted project for the 2019 Aga Khan Award for Architecture.

MOHILA SAMITY COMPLEX DAYAGANJ, DHAKA Architect: EKAR /

The Mohila Samity (Women’s Association) is an organisation which started right after the Independence in 1971; its primary objective was providing support and empowering destitute women through vocational training, legal support, leadership training and activism. The original building hosted an auditorium, which became so popular among the theatre groups of Dhaka that Baily road has come to be known as natak sharani (Theatre Avenue). The Mohila Samity planned the redevelopment of the premise with the vision to accommodate present and future needs, which includes theatres (one with 250 seats and the other one with a 100-seat experimental hall), conference facilities, offices and training facilities for the institution, a primary school, etc. The ground floor is considered to be an extension of the sidewalk acting as a chattwar (a gathering space). The usage evolves throughout the day, women and children being the users during the day and cultural aficionados through the evening late into the night. The vertical circulation is connected by the usage of ramps, bridges and voids, linking the street with the decks and galleries of the theatre halls. The facade of the building is built in a combination of heavy-masonry brick walls and concrete fins and curtain walls. The heavy-masonry walls define interior functional spaces, while the semi-outdoor spaces are defined through light concrete.

SOS YOUTH VILLAGE AND VOCATIONAL TRAINING CENTRE MIRPUR, DHAKA Architect: C.A.P.E / Raziul Ahsan

Prof. Hermann Gmeiner, founder President of SOS Kinderdorf International visited newly emerged Bangladesh in 1972 immediately after the war of liberation with the proposal of establishing SOS Children’s Villages in Bangladesh. After completion of a certain age, the boys from SOS Children’s Village Dhaka move to the Youth Village for their further development and preparation for independent life. SOS Vocational Training Centre Dhaka was established in 1988. The general objective of the centre is to provide the SOS youth as well as drop-outs and unemployed youth of poor families with practical skills for employment: trade courses in electrical, machinist, electronics, automobile and carpentry.

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A total of 180 students are provided with free training and a monthly allowance for food, accommodation and other expenses. The complex consists of one and two-storey buildings made of reinforced-concrete frames and filled in with exposed brick. While the buildings differ in length to accommodate different functions, they all have the same width. Vaulted roofs facilitate natural ventilation and pronounced concrete overhangs protect windows from monsoon. Albeit the large programme, dividing it up into several small pavilions around a central courtyard brings a scale reminiscent of traditional rural clusters to the urban environment.

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ACCOMPANYING PROGRAM

DAM LECTURE SERIES – BANGLADESCH, EUROPE AND VICEVERSA

Wed, June 12, 2019, 7 p.m. CULTURAL CHANGE Lectures and Discussion: , Direktor Bengal Institute for Architecture, Landscapes and Settlements, Dhaka, Marin Tabassum, Marina Tabassum Architects, and Niklaus Graber, Graber & Steiger Architekten DAM Auditorium, Admission € 5 \ € 2,50 reduced

Wed, June 26, 2019, 7 p.m. SOCIAL CHANGE Lectures and Discussion: , Atelier Robin, Nahas Ahmed Khalil, ARC Architectural Consultants und Antje Voigt, Crossboundaries Architektenpartnerschaft, Lenhardt + Voigt DAM Auditorium, Admission € 5 \ € 2,50 reduced

Wed, August 21, 2019, 7 p.m. CLIMATE CHANGE Lectures and Discussion: Saif Ul Haque, Saif Ul Haque Sthapati, Rudi Scheuermann, Arup, Daphne Frank, Cities Fit for Climate Change (Gesellschaft für Internationale Zusammenarbeit, GIZ), Joachim Eckhardt, Department of Planning and Housing Frankfurt\Main DAM Auditorium, Admission € 5 \ € 2,50 reduced

The lecture series will be conducted in English.

BENGAL STREAM FILMS

Wed, August 28, 2019, 8.15 p.m. BOISHOMMO (OMEU) Bangladesh 2014, R: Adam Dawla Introduction: Adam Dawla Admission € 8 \ € 6 reduced

Wed, September 18, 2019, 8.15 p.m. BAMBOO STORIES (OMEU) D 2019, R: Shaheen Dill-Riaz Introduction: Shaheen Dill-Riaz Admission € 8 \ € 6 reduced

SPECIAL EDUCATION PROGRAM

LIGHT AND AIR AND JALIS Pupils of cooperating Frankfurt schools under the direction of Bettina Gebhardt are involved in the creation of the exhibition by producing Jalis — the typical Bengali latticework ornaments.

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Bengal Stream – The vibrant architecture of Bangladesch Frankfurt / Main, 05.06.2019

PUBLICATION

Bengal Stream The Vibrant Architecture Scene of Bangladesh

Edited by Niklaus Graber / Andreas Ruby / Viviane Ehrensberger

Christoph Merian Verlag 24,5 x 33 cm, 448 pages 400 images, English

Available at the museum shop for EUR 68,–

IMPRINT

Bengal Stream The Vibrant Architecture Scene of Bangladesh June 7, 2019 – October 20, 2019

Team S AM Schweizerisches Architekturmuseum

Curators: Niklaus Graber, Andreas Ruby, Viviane Ehrensberger Curatorial Assistant: Stephanie Savio Photography: Iwan Baan Management and finance: Michele Thuring, Claudia Haas Assistant of the management: Valerie Zuber Production and travel exhibition: Sandra Bachmann, Claudia Haas Graphic design: Claudiabasel Scenography: Graber & Steiger Architects, Lucerne in collaboration with Atelier Robin Architects / Salauddin Ahmed, Dhaka Furnishing and textile research: Salauddin Ahmed, Kafi Newaz Khan, Catharina Strebel Scenographic models and plans: Konstantina Giannaki, Jolien Bloem, David Zorenč

This exhibition was produced in collaboration with the Bengal Institute for Architecture, Landscapes and Settlements, Dhaka.

Advisory board: Kazi Khaleed Ashraf, Marina Tabassum, Saif Ul Haque Coordination and logistics: Chowdhury Farah Zaki, Masud Shammo

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Team DAM Deutsches Architekturmuseum

Director: Peter Cachola Schmal Deputy Director: Andrea Jurges Curatorial Assistance: Eva Authried Press and Public Relations: Brita Kohler, Rebekka Rass Graphic Design: Gardeners Translations: Jeremy Gaines Secretary and Administration: Inka Plechaty, Jacqueline Brauer Installation Team: Christian Walter, Mario Lorenz, Lukas Merz, Marina Barry, Leo Laduch, Eike Laeuen, Anke Mila, Menck, Jorn Schon, Omer Simsek, Gerhard Winkler Paper Conservator: Heike Schuler Architectural Education: Christina Budde, Bettina Gebhardt Guided Tours: Yorck Forster Registrar: Wolfgang Welker Exhibition Technology: Achim Muller-Rahn Production: Christian Dorner, Inditec Display & Messegestaltung

Kindly supported by:

Press images for announcements and reports during the exhibition period at: dam-online.de/pr/Bengal-stream/

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September 7, 2019 – February 16, 2020 PAULSKIRCHE A monument under pressure

September 14, 2019 – January 19, 2020 HUNTING HIGH AND LOW In Norwegian landscapes

September 26, 2019 – November 24, 2019 HOUSES OF THE YEAR 2019 The best single-family dwellings

DEUTSCHES ARCHITEKTURMUSEUM Press & Public Relations Schaumainkai 43, 60596 Frankfurt am Main, Germany [email protected] \ dam-online.de

Brita Köhler, Dipl.-Ing. (FH) Head of Press & Public Relations T +49 (0)69.212 36318 \ [email protected]

Rebekka Rass, M.A. T +49 (0)69 212 31326 \ [email protected]

Anja Vrachlitios T +49 (0)69 212 31326 \ [email protected]

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