Forging a distinct identity: How sculptures carved a space in Dhaka’s new buildings
As modern architecture begins to incorporate sculptures, we take stock of its value, which extends beyond just aesthetics
Oro, a continental fine dining restaurant on Gulshan Avenue, is Dr Tahmina Anan and her six-year-old son Zarif's favourite place for brunch. Zarif feels a tug of fascination towards the horse sculpture in front of the restaurant building (Rangs FC Square) – which is one of the primary reasons behind the duo's frequent visits.
"We don't have many sculptures in the city, especially those that can be intimately experienced and appreciated for their grandeur. The sculptures situated in traffic circles or other public places often feel distant and out of reach," explained Dr Tahmina.
The introduction of sculptures in public spaces in Bangladesh gained momentum after the Liberation War. Initially, war-inspired sculptures were commissioned by the military and were installed in cantonment areas. Subsequently, sculptures found their way into university campuses and beyond.
Although relatively recent, the ascent of sculptures has been reshaping the city's aesthetics. Beyond adorning roundabouts along major thoroughfares, sculptures have found their place in both commercial and residential structures now.
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Buildings like Simple Tree Anarkali, Rangs FC Square, Shanta Regal, and Ventura Rossabella are prime reflections of this trend. They all have a sculpture gracing their front space.
"I aspire to see myself as an art connoisseur. I collect art from local artists and try to incorporate it into the interior of my own home. I believe that art and architecture are inextricably linked and complement one another. That is why I have always tried to incorporate a sculpture into a space within the architecture we design," said Mushtaq Qudry, senior architect at Volumezero.
Designed by architect Mustapha Khalid Palash of Vistaara Architects, the UTC building in the capital's Panthapath area was the first of its kind to exhibit a hanging sculpture. The 25-foot-long structure on its 50ft x 50ft outdoor wall was commissioned to Hamiduzzaman Khan, one of the leading sculptors in the country.
"Installing a one-ton heavy sculpture on a wall was indeed challenging. I had to do countless meetings with the architects and engineers," said Hamiduzzaman Khan.
"It is absolutely appreciable that the real estate companies have begun to acknowledge the added value of sculptures in residential and commercial buildings, and started implementing them. However, for commissioned sculptures, the freedom of creativity is somewhat debatable."
Hamiduzzaman has also designed several other notable sculptures in the city, including "Birds Family" at Bangabhaban, "Gate of Heaven" at Banani Graveyard, and "Peace Bird" at Dhaka University, among others.
His latest project in a commercial building is named "Shaptak" and was installed in the Shaptak Square building.
"This was another challenging project. Surrounded by a fountain, the sculpture, made of metal, weighs about three tons. It is installed on the ground floor and on the roof of the basement. I did not make the sculpture but rather led the team. It took about three months to complete," said Hamiduzzaman.
Not just about aesthetics
"Installing a sculpture in front of a building has much more value than just aesthetics. If done with due research, keeping the location and relevant history in mind, a sculpture could be symbolic and educative," said Wakilur Rahman, a veteran painter, printmaker, and sculptor.
In many instances, sculptures have the power to forge their own history. Masterpieces such as Bernini's 'The Ecstasy of Saint Teresa,' Auguste Rodin's 'The Thinker,' Rodin's 'The Gates of Hell' and the iconic Spoonbridge and Cherry by Claes Oldenburg and Coosje van Bruggen stand as exemplary commissioned sculptures that have earned widespread acclaim and global recognition.
These sculptures have effectively etched their place into the identities of their respective sites. "A sculpture creates an identity for the building. Many buildings are known for the sculptures they exhibit," added Hamiduzzaman.
"Sculpture creates an ambience. It adds character to the room and makes one pause for a while and ponder. I guess in that sense the presence of it is strategic," commented Architect Qudry.
In compliance with RAJUK regulations, architects are required to allocate specific areas of land as open spaces within building designs. Consequently, their architectural blueprints often incorporate empty spaces that demand thoughtful consideration.
Sculptures, fountains, or even carefully curated foliage have emerged as compelling solutions to enhance and fill these voids, contributing not only to the aesthetic appeal but also serving functional and regulatory purposes in the urban landscape.
"Sculptures serve as an excellent means to enhance the setback areas of a building, infusing volume and dimension into an otherwise flat surface. The maintenance cost is significantly lower compared to features like fountains and vegetation," commented Md. Ishak Mia, Managing Director and Partner Architect at Chinton Architects Ltd.
Furthermore, sculptures offer the opportunity to introduce playful colours into a space. At times, a sculpture itself can double as a seating element, adding both aesthetic appeal and functionality to the environment.
When asked if a sculpture's presence in a building makes it more lucrative to the buyers, Qudry said, "I believe it makes people appreciate the architecture we design. It gives a sense of space that is experiential and inspiring. Art inspires! A space that exhibits art can thus offer an experience that is clearly distinct from one that does not. If you end up liking such a space, you might want to be a part of it—as a buyer or as a user."
Of longevity and durability
While Hamiduzzaman's favourite medium for sculptures is stone and metal, Wakil loves to play around with contemporary materials like glass, terracotta, or even cement.
But the bottom line of picking material is simple - longevity and durability. A sculpture in a building stays as long as the building stays. Hence, choosing a robust material is a mandate.
"Any material that is used in the external architecture [such as cement, glass, etc.] of a building can also be used in sculpture-making. Many new materials have emerged in contemporary architecture that are being used in sculpture," added Wakil.
In the early days of the sculpture industry, materials were unavailable in Bangladesh. "We worked only with soil and wood. Gradually, I started working with copper, stainless steel, zinc, and stone. Now all the materials are available here. I prefer steel and stone," said Hamiduzzaman.
However, for commissioned works, materials are often picked by the architects.
A flipside of commissioned work
"It is absolutely appreciable that the real estate companies have begun to acknowledge the added value of sculptures in residential and commercial buildings and started implementing them. However, for commissioned sculptures, the freedom of creativity is somewhat debatable," shared Wakil.
In many instances, Wakil found the copying tendency by architects and developer companies disappointing.
"Frequently, architects download reference images and request replicas, stifling the creative process of sculpting. In a field as artistic as sculpting, this approach undermines our creative freedom," he added.
Wakil also spoke on the budget constraints in this field. "Real estate in this country has come a long way, and the city is witnessing towering structures of substantial budgets. However, when it comes to allocating resources for artistic elements such as sculptures, there seems to be a reluctance that fails to inspire us," concluded Wakil.
