DOCSLIB.ORG

Rickshaw, a Motion Craft

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

A Study on Material Culture in Dhaka | Rickshaw, A Motion Craft Prepared By | Nazmul Islam Supervised By | Dr. Robert Mellin Master of Architecture Major - Urban Design and Housing School of Architecture McGill University Montreal, Quebec A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Architecture August 2015 Copyright © Nazmul Islam | [email protected] | [email protected] I wish to express my admiration for all the rickshaw making artisans of Dhaka Contents Acknowledgement 01 Abstract 02 Résumé 03 Preface 05 Chapter I 09 . Literature Review . Material Culture 10 . Folklore 23 . Methodology . Qualitative Research – Observational Study and Documentation 25 Chapter II 31 . Rickshaws of Dhaka 32 . Background 33 . Rickshaw, a Motion Craft 35 . Rickshaw Pullers, Artisans and Others, 38 Related to the Rickshaw Industry Chapter III 59 . Rickshaw-making Workshops and Artisans 60 . Rickshaw Equipment-producing Factories 89 . Rickshaw Equipment Wholesale Stores 94 . Rickshaw Artists’ Studio Spaces 98 . Rickshaw Repair Workshops 116 Chapter IV 121 . Rickshaw Art 122 . Subject Typology of Rickshaw Art 132 . Legends of Rickshaw Art 148 Conclusive Remarks 153 Bibliography 156 Acknowledgement It’s my great pleasure to express sincere gratitude to my mentor and research supervisor Professor Dr. Robert Mellin, for his patience and cordial guidance throughout my tenure at McGill School of Architecture. No doubt, his continuous coordination and valuable suggestions have provided me the opportunity to work on my current research, a study on material culture in Dhaka, more precisely ‘Rickshaw, A Motion Craft’. I would like to extend my special thanks to Dr. Annmarie Adams, Dr. Nik Luka, Dr. Avi Friedman, Professor Vikram Bhatt, and of course to Ms. Marcia King, who helped me with their endless support to overcome difficulties and lead a successful studentship in this highly reputed school. I would also like to share the names, with cheers, of my friends and colleagues, who have contributed a lot in making the field study really effective; notably, I would like to mention architect Mohammad Muazzem Hossen Akash, architect M.M. Rabbi Anik, and Fahim Alam who is a B.Arch. student and an excellent photographer. I am also very grateful to my friend engineer Samia Enayet for her support in French language matters. It’s my privilege to thank my new friends, found while doing the field study in Dhaka, rickshaw maker Mohammad Shiraz, artist Tapan Das and Rafiqul Islam and other artisans, who kindly allowed me to document their activities, their studio and workshop spaces. I am certainly quite pleased with their patience and their information regarding the subject matter to explore the appropriation of this artifact and its artisans. I am deeply indebted to my parents, siblings and in-laws, who always inspire me to continue my career in architectural practice and research. And, last but not least, I am profoundly grateful to my best friend and loving wife Samina Mazumder Tuli, who is an architect and researcher, for her eager interest, advice and cooperation in my research work. 1 Abstract The rickshaw is the most common and popular means of transport in Dhaka. It is a human-powered, passenger-carrying tricycle. Dhaka’s rickshaws have already garnered worldwide appreciation, not only for their environmentally responsive design features but also for their displays of artistic expression and splendid decorations. The rickshaw is not an object; rather, it is a pure form of art that is celebrated in shapes and forms, colors and patterns, designs and crafts. Rickshaw decoration represents a local folk art that is clearly true in expression and rich in experience. The colorful eccentricity of these highly crafted rickshaws is an entirely unique feature of Dhaka’s cultural landscape (Dutt & Williams, 2010). Over the years, a number of skilled mechanics and rickshaw artists have been in their informal workspaces to produce this handmade vehicle as a heartfelt expression of local craft. However, a battery-powered, passenger-carrying tricycle is beginning to replace traditional rickshaws in some areas of Dhaka because they are quite efficient and convenient to operate. In addition, most traditional rickshaw art is beginning to be replaced by printed images. Nevertheless, considering the significance of rickshaws in Dhaka and the probable disappearance of the industry in the near future, this research work has been undertaken to document the traditional rickshaw-making process and its very local technology. More precisely, this documentation illustrates rickshaw workshops and rickshaw artists’ studio spaces as well as the artifacts and the contributions of artisans. Reference Dutt, K. L., & Williams, D. J. (2010). Moving Pictures: Rickshaw Art of Bangladesh. Ocean, NJ: Grantha Corporation. 2 Résumé Rickshaw est le moyen le plus commun et populaire de transport à Dhaka. Il est un passager à propulsion humaine portant tricycle. Le pousse-pousse de Dhaka a déjà assuré une appréciation dans le monde entier, et il est non seulement pour ses caractéristiques de conception écologiques et sensibles de l'environnement mais aussi pour son expression artistique et décors magnifiques. Il n’est pas un objet, mais plutôt une forme pure de l'art qui est célébré dans les formes, couleurs et motifs, dessins et artisanats. La décoration d’un Rickshaw représente les arts folkloriques locaux, ce qui est clairement vrai dans l'expression et riche en expérience. L'excentricité colorée des Rickshaws très artisanales est entièrement une caractéristique unique du paysage culturel de Dhaka (Dutt & Williams, 2010). Au fil des ans, un certain nombre de mécaniciens de compétences et des artistes de Rickshaw ont travaillé de tout cœur dans leurs espaces de travail informels pour produire ce véhicule à la main comme un symbole de l'artisanat local. Toutefois, un passager-portant tricycle alimenté par batterie est occupé certains endroits de Dhaka en remplaçant les Rickshaws, en raison de sa grande efficacité et une utilisation commode. De plus, l'art de rickshaw le plus populaire a déjà commencé à être remplacé par des images imprimées. Cependant, compte tenu de l'importance de Rickshaw à Dhaka et de la disparition probable de l'industrie dans un avenir proche, ce travail de recherche a été lancé pour documenter le processus de fabrication traditionnelle de Rickshaw, et pour démontrer sa technologie vraiment localisée. Plus précisément, les ateliers de Rickshaw et les espaces de studio de l'artiste de Rickshaw, ainsi que les artefacts et les contributions des artisans ont été illustrés dans le présent document. Référence Dutt, K. L., & Williams, D. J. (2010). Moving Pictures: Rickshaw Art of Bangladesh. Ocean, NJ: Grantha Corporation. 3 A decorated rickshaw body 4 Preface The rickshaw is the most available and popular means of public conveyance in Dhaka. Rickshaws are human-powered and pedal-driven three-wheeled cycles used for carrying passengers. This vehicle has achieved great recognition in the world, not only for its nature-friendly, sustainable features but also for its unique artistic expression. “Swarms of bright rickshaws add interest to the city’s slow motion, and they have frequently excited the curiosity of foreign visitors, for collectively they comprise a quantitatively astounding public exhibition of art” (Glassie, 1997). Over the years, a number of skilled mechanics and rickshaw artists have been working in their informal workspaces in a heartfelt manner to produce this handmade vehicle, a symbol of local craft. This extraordinary artwork represents one of the most distinctive folk cultures of the region. This research was undertaken in order to document the traditional rickshaw- making process – the very local technology, its workshop settings, the expertise involved as well as the rickshaw artists and their artwork. The rickshaw is a necessary part of Dhaka, the capital city of Bangladesh. According to the Institute for Transportation and Development Policy (ITDP) of Dhaka and the Strategic Transport Plan (STP) 2005, there are approximately six hundred thousand rickshaws on the streets of Dhaka, and over a million people are directly involved for their livelihoods in this gigantic industry (RAJUK, 2005). Currently however, a battery- powered, passenger-carrying tricycle has occupied some areas of Dhaka and has replaced rickshaws because of its operational convenience, more passenger carrying capacity, better speed, and higher efficiency. In the future, this new technology could become a threat by replacing the existing traditional rickshaws. In addition, machine- printed design elements recently have been replacing the traditional artwork found on rickshaw panels because of their cheaper cost and availability. However, considering the significance of rickshaws regarding the environmental, socio-cultural, and economic aspects of Dhaka city as well as their appreciated craft value, and the probable disappearance of the industry in the near future, this research work was initiated to create an archive of the conventional rickshaw-making process. 5 A rickshaw puller, carrying a passenger 6 A literature review was initially done to provide the theoretical framework to study material culture and folklore, which has helped to shape the methodical approach of this research. The objective of this study is to document the traditional methods of making rickshaws. Furthermore, it illustrates rickshaw workshops
Recommended publications
  • Dhaka Urban Transport Network Development Project Environmetal

    Dhaka Urban Transport Network Development Project Environmetal

    DHAKA TRANSPORT COORDINATION BOARD MINISTRY OF COMMUNICATIONS (MOC) GOVERNMENT OF THE PEOPLE’S REPUBLIC OF BANGLADESH DHAKA URBAN TRANSPORT NETWORK DEVELOPMENT PROJECT ENVIRONMETAL IMPACT ASSESSEMENT STUDY FEBRUARY 2011 Prepared by Dhaka Transport Coordination Board PREPARATORY SURVEY ON DHAKA URBAN TRANSPORT NETWORK DEVELOPMENT STUDY (DHUTS) PHASE II ENVIRONMETAL IMPACT ASSESSEMENT STUDY TABLE OF CONTENTS Table of Contents List of Abbreviations CHAPTER 1: DESCRIPTION OF THE PROJECT 1.1 BACKGROUND OF THE MRT LNE 6 ................................................................................. 1-1 1.2 THE MRT LINE 6 LOCATION .............................................................................................. 1-2 1.3 PROJECT INITIATION .......................................................................................................... 1-4 1.4 IMPORTANCE OF THE PROJECT ....................................................................................... 1-4 1.5 OBJECTIVE OF THE PROJECT ........................................................................................... 1-4 1.6 DEVELOPMENT PLAN IN UTTARA PHASE 3 PROJECT BY RAJUK ............................ 1-5 1.7 THE EXECUTING AGENCY OF THE PROJECT ................................................................ 1-5 CHAPTER 2: POLICY, LEGAL AND ADMINISTRATIVE FRAMEWORK 2.1 POLICY AND LEGAL FRAMEWORK................................................................................. 2-1 2.1.1 EIA System and Procedure set by DOE ....................................................................
  • Prof. Kanu BALA-Bangladesh: Professor of Ultrasound and Imaging

    Prof. Kanu BALA-Bangladesh: Professor of Ultrasound and Imaging

    Welcome To The Workshops Dear Colleague, Due to increasing demands for education and training in ultrasonography, World Federation for Ultrasound in Medicine and Biology has established its First "WFUMB Center of Excellence" in Dhaka in 2004. Bangladesh Society of Ultrasonography is the First WFUMB Affiliate to receive this honor. The aims of the WFUMB COE is to provide education and training in medical ultrasonography, to confer accreditation after successful completion of necessary examinations and to accumulate current technical information on ultrasound techniques under close communication with other Centers, WFUMB and WHO Global Steering Group for Education and Teaching in Diagnostic Imaging. 23 WFUMB Center of Education Workshop of the World Federation for Ultrasound in Medicine and Biology will be held jointly in the City of Dhaka on 6 & 7 March 2020. It is a program of “Role of Ultrasound in Fetal Medicine” and will cover some new and hot areas of diagnostic ultrasound. It’s First of March and it is the best time to be in Dhaka. So block your dates and confirm your registration. Yours Cordially Prof. Byong Ihn Choi Prof. Mizanul Hasan Director President WFUMB COE Task Force Bangladesh Society of Ultrasonography Prof. Kanu Bala Prof. Jasmine Ara Haque Director Secretary General WFUMB COE Bangladesh Bangladesh Society of Ultrasonography WFUMB Faculty . Prof. Byung Ihn Choi-South Korea: Professor of Radiology. Expert in Hepatobiliary Ultrasound, Contrast Ultrasound and Leading Edge Ultrasound. Director of the WFUMB Task Force. Past President of Korean society of Ultrasound in Medicine. Past President of the Asian Federation of Societies for Ultrasound in Medicine and Biology.
  • Watching, Snorkelling, Whale-Watching

    Watching, Snorkelling, Whale-Watching

    © Lonely Planet Publications 202 Index A Baitul Mukarram Mosque 55 Rocket 66-7, 175, 6 accommodation 157-8 baksheesh 164 to/from Barisal 97-8 activities, see diving, dolphin- Baldha Gardens 54 to/from Chittagong 127-8 watching, snorkelling, Bana Vihara 131 to/from Dhaka 66-8 whale-watching Banchte Shekha Foundation 81 boat trips 158 Adivasis 28, 129, see also individual Bandarban 134-6 Chittagong 125-6 tribes bangla 31 Dhaka 59 Agrabad 125 Bangla, see Bengali Mongla 90 Ahmed, Fakhruddin 24 Bangladesh Freedom Fighters 22 Rangamati 131 Ahmed, Iajuddin 14 Bangladesh Nationalist Party 23 Sariakandi 103 INDEX Ahsan Manzil 52 Bangladesh Tea Research Institute 154 Bogra 101-3, 101 air travel Bangsal Rd 54 books 13, 14, see also literature airfares 170 Bara Katra 53 arts 33 airlines 169-70 Bara Khyang 140 birds 37 to/from Bangladesh 170-2 Barisal 97-9, 98 Chittagong Hill Tracts 28, 29 within Bangladesh 173-5 Barisal division 96-9 culture 26, 27, 28, 31 Ali, Khan Jahan 89 Baro Bazar Mosque 82 emigration 32 Ananda Vihara 145 Baro Kuthi 115 food 40 animals 36, 154-5, see also individual bathrooms 166 history 20, 23 animals Baul people 28 Lajja (Shame) 30 Lowacherra National Park 154-5 bazars, see markets tea 40 Madhupur National Park 77-8 beaches border crossings 172 Sundarbans National Park 93-4, 7 Cox’s Bazar 136 Benapole 82 architecture 31-2, see also historical Himachari Beach 139 Burimari 113 buildings Inani Beach 139 Tamabil 150 area codes 166, see also inside front Benapole 82 Brahmaputra River 35 cover Bengali 190-6 brassware 73 Armenian
  • Mercantile Bank Limited, Share Department, Board Division, Head Office, Dhaka

    Mercantile Bank Limited, Share Department, Board Division, Head Office, Dhaka

    Mercantile Bank Limited, Share Department, Board Division, Head Office, Dhaka List of shareholders having unclaimed or undistributed or unsettled cash dividend for the year 2017 Nominee(s), if Year of B.O. account / Folio Amount of dividend Sl. # Name of Shareholder Father’s name Mother’s name Permanent & contact address any dividend Number inTk. 1 Khaleda Hassan House # 114, Road # 3, Block # F, Banani Dhaka 1213 Not available 2017 00119 1,013.83 2 Samina Nasreen 23/2, East Nayatola Dhaka Not available 2017 00128 3,233.44 3 Syed Fanjir Ahmed Hotel Al-Amin,262, Fakirapool Dhaka 1000 Not available 2017 00222 1,013.83 4 A.M Al-Amin Md. Abdul Mozid Mian Ms. Hazera Khatun 66/6, East Haji Para, Rampura Road Dhaka 1219 Not available 2017 00224 4,340.92 5 Mohammed Ali 84/2 Central Road, Dhanmondi Dhaka Not available 2017 00322 789.59 6 Gazi Shazzad Zahir 231/A Khilgaon Tilpapara Dhaka Not available 2017 00341 4,436.91 7 A. Hasib House # 53, Road # 12/A, Dhanmondi Dhaka Not available 2017 00394 283.31 8 Neesar Ahmed Late Nasiruddin Ahmed 2-B/1, Darussalam Road, Mirpur Dhaka Not available 2017 00396 1,526.01 House # 43/A, Flat # Nz, Road # 9 Dhaka Cantonment 9 Farah Anjum Mohammad Abdullah Moinul Not available 2017 00426 928.40 Dhaka 10 Yusuf Saeed Late Hasan Saeed Plot # 6, Road # 137, Flat # A2, Gulshan-1 Dhaka Not available 2017 00510 5,533.83 Road # 7, House # 10, Block # Kha Pc Culture Housing, 11 Rasad Rahman Md. Atiar Rahman Not available 2017 00516 1,127.10 Mohammedpur Dhaka 1207 Flat 5/A, H-8/A/3, Rd-13 (New) 4Th Floor Dhanmondi 12 Airin Afroz Shafiqul Islam Mallick Not available 2017 00517 11,198.23 R/A Dhaka Flat No-C-403 Intimate Cozy 120,Moneshwar Road 13 S.M.
  • The Refining of a Domestic Art: Surayia Rahman Niaz Zaman Niaz@Iub.Edu.Bd

    The Refining of a Domestic Art: Surayia Rahman Niaz Zaman [email protected]

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2014 The Refining of a Domestic Art: Surayia Rahman Niaz Zaman [email protected] Cathy Stevulak Follow this and additional works at: http://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons, and the Art Practice Commons Zaman, Niaz and Stevulak, Cathy, "The Refining of a Domestic Art: Surayia Rahman" (2014). Textile Society of America Symposium Proceedings. 886. http://digitalcommons.unl.edu/tsaconf/886 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Refining of a Domestic Art: Surayia Rahman Niaz Zaman and Cathy Stevulak The kantha or, as it is increasingly referred to now, the nakshi kantha, is an important women’s domestic art of Bengal. It is made all over Bangladesh except in the south-eastern Chittagong Hill Tracts region. Layers of old garments such as saris, lungis and dhotis are put together and reconstituted into objects of functional, ritual, or ceremonial use. Borders and motifs are embroidered in variations of the running stitch with coloured thread, traditionally drawn from the borders of old saris. The empty spaces are stitched with white yarn to create an effect of ripples. In most Bengali families, small kanthas made of soft, old cloth, are used to wrap babies. [Figure 1] Husbands or sons who leave home to work on land or water almost always carry with them a kantha made by their mothers or wives.
  • LIBERATION WAR MUSEUM BATALI HILL, CHITTAGONG By

    LIBERATION WAR MUSEUM BATALI HILL, CHITTAGONG By

    LIBERATION WAR MUSEUM BATALI HILL, CHITTAGONG By Rayeed Mohammad Yusuff 11108022 Seminar II ARC 512 Submitted in partial fulfilment for the requirements for the degree of Bachelor of Architecture Department of Architecture BRAC University Fall 2015 LIBERATION WAR MUSEUM | 2 ABSTRACT The year of 1971 is the most significant year in the lives of the Bangladeshis. Our liberation war of 1971 is an event which marks the existence of Bangladesh. It was a war fought by the people and these valiant men and women helped us gain this country. However, in the process of gaining independence, several lives were lost, many girls and women raped and numerous people had to be displaced. The heinous Pakistanis did not hesitate once to kill the innocent people of Bangladesh. It has been almost 44 years since this war was fought and unfortunately, many people are slowly forgetting the importance of this war and the real story behind it. I believe that the people who had been present during the war and have actively participated in it are the ones who can give us the most accurate information about our Liberation War. During this long span of time, we are slowly losing most of them and we urgently need to preserve their experiences and information for the future generation. Chittagong, being a historic site during the Liberation War of 1971, does not have a Liberation War Museum of a large magnitude compared to Dhaka. Chittagong not only contributed during the Liberation War but also played a major role before it. Hence, an attempt was made to design a Liberation War Museum in Batali Hill, Chittagong.
  • East West Properties Bashundhara Group

    East West Properties Bashundhara Group

    East West Properties Bashundhara Group Unwitched Chaim cosing his retrieval decoys dearly. Red and venerated Lucius thread, but Wilber furtively burble her galvanizers. Henry is outward and syntonise irretrievably while preludial Fabio fossilized and relaxes. It crowd the government which can stick in unique manner research how far money and been collected or extorted. We think you have liked this presentation. As regards the first question we receive no mold in the submission, inasmuch as, post money have taken kept the account No. We continue to monitor the situation and to follow government guidance and instructions, while doing all we can to ensure business continuity. Government for bashundhara group chairman and property ltd all its officials in ratnagiri, freedom to direct impact in. From above discussion we can say that the corporation strategic plan is effective. Basically, all the web development company in Bangladesh listed here are pretty much popular and famous. Board, my Tax, VAT etc. There are other companies as well where you can get quality service. Bangladesh online news daily. As we do not have any control over these elements we need to change our activities and planning to cope with the changing environment. Historically known as bashundhara. Find residential land is leading business planning of east west properties. Emergency or otherwise, justifies such action you any Governmental agency to farm money per citizen in game name of taxation without sanction of wax of Parliament in cut of Constitutional limitations. Purbachal project offering strength and sustainability focus and smooth production have a unique groups of fundamental belief in hand, with weak point of its own.
  • Promoting Public Private Partnership for Development of Tourism

    Promoting Public Private Partnership for Development of Tourism

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by International Institute for Science, Technology and Education (IISTE): E-Journals European Journal of Business and Management www.iiste.org ISSN 2222-1905 (Paper) ISSN 2222-2839 (Online) Vol.5, No.32, 2013 Promoting Public Private Partnership for Development of Tourism Sector of Bangladesh: An Exploratory Study Tanzina Chowdhury, Syeda Tamanna Fahim, Evana Nusrat Dooty * Department of Business Administration, International Islamic University Chittagong, Chittagong- 4203,Bangladesh. * Email of the corresponding author ( [email protected] ) Abstract Tourism has become a very important and dynamic sector both in the world economy and particular in the developing country like Bangladesh. Its growth affects not only the activities directly linked to tourism but also other sectors. This article is devised to find out the prospects of tourism with the help of public private partnership (PPP) projects in Bangladesh.The key findings of the study is that proper implementation of public private partnership in tourism can enhance economic growth of Bangladesh through developing tourism sector. Key Words: Tourism, public private partnership, tourism development, GDP 1. Introduction Tourism is one of the most promising sectors of Bangladesh as it offers immense potentiality for employment generation, poverty alleviation and maintaining ecological balance. Tourism activities capture a considerable high percentage of GDP for many countries. Tourism initiatives involve many more things like hotel and entertainment constructions, improvements and modernization of airports, railroads, seaports, etc. New financial models are needed to make tourism investments possible through some ways of cooperation of governments and private companies.
  • The Calculus of Heritage Preservation

    The Calculus of Heritage Preservation

    June 25, 2019 The calculus of heritage preservation Ruins of Jahaj Bari, which was torn down violating a High Court order and without permission from the Waqf Estate that the land belongs to. Photo: Collected Adnan Zillur Morshed The clandestine demolition of Jahaj Bari in Old Dhaka on the night of Eid-ul-Fitr reveals the precarious state of historic preservation in Bangladesh. Such a senseless act of destruction—a kind of cultural violence—was possible because of a host of interrelated reasons. Among them are: a lack of clear policy guidelines for the preservation of “historic” buildings in private hands or waqf custodianship; a policy marginality of the very idea of historic preservation within government bureaucracies; pervasive lack of knowledge of heritage buildings (a newspaper journalist called Jahaj Bari an “ancient” building; there is no consensus as to when exactly the building was built); absence of broad public heritage awareness, further weakened by a disjointed culture of sentimental attitude toward preservation, often falsely isolated from the economics of preservation. The knocking down of Jahaj Bari received some news media coverage. Yet, the overall feeling was that this was merely a minor headache of the preservation specialist! There was no statement about it on the website of the Department of Archaeology, the government agency in charge of the country’s cultural patrimony. This agency recognises only 32 buildings in Old Dhaka as archaeologically significant. Jahaj Bari is not one of them. According to the Urban Study Group, a team of activists committed to the conservation of historic buildings, there are 2,200 “heritage” buildings in Old Dhaka.
  • Introduction to Heritage Tourism and Tourist Trails for the Renewal of Old Dhaka

    Introduction to Heritage Tourism and Tourist Trails for the Renewal of Old Dhaka

    American Journal of Civil Engineering and Architecture, 2017, Vol. 5, No. 3, 98-107 Available online at http://pubs.sciepub.com/ajcea/5/3/4 ©Science and Education Publishing DOI:10.12691/ajcea-5-3-4 A Journey through the History: Introduction to Heritage Tourism and Tourist Trails for the Renewal of Old Dhaka Dipa Saha*, Sazdik Ahmed, Abu Towab Md. Shahriar, S. M. Naeem Hossain Mithun Department of Architecture, Hajee Mohammad Danesh Science and Technology University, Dinajpur, Bangladesh *Corresponding author: [email protected] Abstract Dhaka, the one of the megacities in the world have been facing the pressure of new development and redevelopment due to rapid socio-economic development. Like the other part of the city in old Dhaka, this urban renewal is misunderstood as the process of demolition-reconstruction of old buildings and historical sites. Change in land use pattern, land scarcity, increased land value, lack of mature theoretical guidance and the awareness of preservation the old part of the city is losing its identity. This kind of development not only affecting the city fabric but also destroying the vernacular built environment, cultural values and collective memory of habitants. Introduction of heritage tourism and development of tourist trails in different part of the old city may become an effective and sustainable measure to protect the heritage sites and old fabric of the city. Heritage tourism not only has a positive effect on economic development activities but it also promotes and protects the intangible heritage resources. The study tries to explore some different ways in which tourist trail and heritage tourism can be developed in old Dhaka.
  • Report on Ahsan Manzil

    Report on Ahsan Manzil

    AHSAN MANZIL By Zawad Ahmed Introduction: The Ahsan Manzil is located in Kumartoli, Dhaka, on the Buriganga River.It was the nawabs of Dhaka's private royal residence and kachari.It is located in Latif Complex, Islampur Rd, Dhaka, and has recently been converted into a historical hub.It was designed by Indo-Saracenic engineers.The construction of the royal residence began in 1859 and was completed in 1872.Ahsan Manzil is one of the country's most significant compositional landmarks.This structural fortune has been witnessed on multiple occasions in Bangladesh.The bulk of Nawab Khwaja salimullah's political activities revolved around this royal residence. The All India Muslim League was behind Ahsan Manzil.It was given the name Ahsan Manzil by Abdul Ghani in honor of his son Khwaja Ahsanullah.The decline of the Dhaka nawabs coincided with the decline of Ahsan Manzil. Collected From Wikipedia It was built on a 1 metre raised base, with the two-celebrated castle measuring 125.4m by 28.75m.The ground floor is 5 meters tall, while the first floor is 5.8 meters tall.Patios of ground floor stature can be found on both the northern and southern sides of the castle.Through the front nursery, an open, roomy flight of stairs has descended from the southern colonnade, which has been broadened up to the bank of the stream.Prior to the steps, there was a wellspring in the nursery that no longer exists.Two of the floors' open north and south verandas followed crescent curves. Marble covers the entire board.During construction, the square room on the ground floor was given a round shape with brickwork in the corners.
  • Marketing Strategies of Museums in Bangladesh: a Study On

    Marketing Strategies of Museums in Bangladesh: a Study On

    The Jahangirnagar Journal of Marketing ISSN: 2308-6238 Vol 5, June 2017 Marketing Strategies of Museums in Bangladesh: A Study on Bangladesh National Museum Barota Chakaborty1 Abstract: The term – museum marketing has seen significant interest in over the past few years. In Bangladesh, the marketing of museums is still an unusual untried concept. As, this study intended to focus on the marketing strategies of a museum of the country, the Bangladesh National Museum has been selected and 30 personnel have been selected applying the non-probability judgmental sampling technique, Dhaka Metropolitan City has been taken for the analysis. Through the use of interviews, the authors have examined the segmentation, targeting & positioning process and the marketing mix decisions that are distinct for the museum. Finally, the implications of these findings are discussed and some recommendations have been made for the chosen entity. Keywords: Marketing Strategy, Marketing Mix, Museum Marketing JEL Classification Code: M31. Introduction In response to the rising profit sectors, the entity of the non-profit sector has emerged as an important part of modern society. In the process, the Non-Government Organizations (NGOs) have played a pivotal role in the growth of the region since the time they gained prominence in the 1980s. More than just engaging volunteers to provide relief operations in times of domestic or international crises, or providing basic services to marginalized and underprivileged sectors of society, NGOs have expanded their role of being governments’ partners in pro-active policy formation and program implementation. They raised public consciousness of issues, advocated policy reforms, seek out alternative development strategies, and created innovative strategies to encourage citizen participation in socio-political and economic matters.