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Bangladesh's Colonial Foundations: Architecture as a Symbol of Authority

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  //politics-government.news-articles.net/content/ .. tions-architecture-as-a-symbol-of-authority.html
  Published in Politics and Government on Friday, November 28th 2025 at 13:55 GMT by The Daily Star

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How Bangladeshi Architecture Echoes the Country’s Political Pulse

Architecture is often described as the “visual language” of a nation. In Bangladesh, a country that has traversed colonial rule, a brutal liberation war, socialist experiments, and the turbulence of a modern democracy, the built environment offers a vivid mirror of its shifting political landscape. In a recent Slow Reads feature, The Daily Star dives deep into this relationship, charting how the design of public and private spaces in Bangladesh has been inextricably linked to power, ideology, and identity.

1. The Colonial Blueprint: Foundations of Power

The article opens with a trip back to the late 19th‑century, when Dhaka was part of the Bengal Presidency. British administrators imported European aesthetics to signal authority. The iconic Dhaka Museum (originally the Museum of Fine Arts, built 1893) is a prime example: its red-brick façade, colonial arches, and a grand portico convey an image of rational, “civilized” governance. The building’s spatial hierarchy—public galleries flanked by a central courtyard—reinforces a top‑down social order.

Another key piece of colonial architecture, the Jatiyo Sangshad Bhaban (National Parliament House), still stands as a relic of imperial influence. Although later repurposed as the parliament, its original design by the British architect J. S. B. J. (John Spencer Barry) is a blend of European neoclassicism and subtle Indian motifs, foreshadowing the country’s future attempts at synthesis.

2. Liberation and National Identity

Fast forward to 1971, when Bangladesh declared independence from Pakistan. The new nation’s leaders faced the task of forging a distinct national identity, one that could be expressed through architecture. The feature highlights the Shahid Minar in Dhaka—built in 2008 but conceptually rooted in the 1971 war. Its spire, carved from reclaimed stone, evokes the “minarets” of medieval Islamic architecture, linking contemporary Bangladesh to a proud Muslim past while simultaneously celebrating the secular ideals of the Liberation War.

A landmark project that illustrates this post‑war ambition is the Bangladesh Secretariat (the new Secretariat building completed in 2009). Designed by architect Zainul Abedin, the Secretariat blends modernist lines with local materials. The architects employed a series of interlocking concrete ribs that echo the traditional jalis (lattice screens), enabling natural ventilation—a nod to Bangladesh’s tropical climate and an attempt to democratize the administrative space. The article underscores that the building’s open atrium was deliberately meant to symbolize transparency in governance, a political promise that, according to critics, has yet to be fully realized.

3. Socialist Experimentation and the “Great House”

The 1980s saw a wave of socialist-inspired architecture. In the Slow Reads piece, the Bangladesh Railway Headquarters in Dhaka is used as a case study. Built during the tenure of H. K. U. Chowdhury, the complex features brutalist concrete forms, a stark aesthetic meant to represent egalitarianism. The façade’s repetitive balconies were intended to provide communal space for workers, a subtle political statement about class solidarity. Yet the building’s heavy, opaque appearance contrasted sharply with the openness of the earlier Secretariat, illustrating the ideological shift to a more authoritarian, centrally controlled governance style.

The article also touches upon Bashundhara Residential Complex, which, though a private project, reflects the increasing influence of market forces on urban development. Built by the Bashundhara Group, the complex mixes luxury condominiums with public gardens, a design that mirrors the growing divide between the elite and the general populace—a direct consequence of Bangladesh’s political economy.

4. Contemporary Architecture and Democratic Aspirations

In the 21st century, Bangladesh’s architecture has become a battleground for competing visions of progress. The feature spotlights the Bangladesh National Museum of Science and Technology (opened 2019), whose striking glass façade and spiraling ramp embody a commitment to transparency and innovation. Architect Hasibul Alam intentionally used a “circular” plan to represent the “continuity of learning,” a subtle allusion to the democratic value of collective knowledge.

Another notable project is the Shaheed Zia Memorial Hall, completed in 2021 in Sylhet. It blends modern steel with traditional chala rooflines, signifying the blending of nationalistic heritage with global architectural trends. The article notes that the memorial hall’s open, amphitheater‑style layout encourages public gathering—a nod to civil society’s role in a healthy democracy.

The piece also references the Dhaka Tower, a high‑rise mixed‑use development that has become the city’s most talked‑about skyline landmark. While its design has been praised for revitalizing the skyline, critics argue that the tower’s towering presence underscores the influence of the elite class and the uneven distribution of development benefits, a political point that remains contentious.

5. Challenges, Critiques, and the Future

The Slow Reads article does not shy away from the challenges faced by Bangladesh’s architectural scene. Rapid urbanization, limited resources, and a lack of stringent heritage preservation policies have often led to the demolition of historic buildings for new commercial projects. The piece cites the demolition of the Chandra Sona Mosque in 2016, arguing that such losses symbolize a short‑sighted political prioritization of development over cultural memory.

The article also highlights the role of contemporary architects like Mizanur Rahman and Farah Naz who are pushing for a more inclusive and sustainable architecture that respects both the environment and the cultural tapestry. Their work often incorporates green roofs, rainwater harvesting, and community gardens—design elements that serve political purposes by promoting environmental stewardship and public welfare.

6. Conclusion: Architecture as a Living Political Archive

Ultimately, The Daily Star’s feature frames architecture not merely as a product of aesthetic preferences, but as a living archive of political intent. From the colonial grandiosity that aimed to impose authority, to the post‑war memorials that celebrate liberation, to the modern mixed‑use towers that embody democratic aspirations, Bangladesh’s built environment is a palimpsest of its political journey. The article concludes that for Bangladesh to move forward, policymakers must acknowledge this relationship—recognizing that every building, every street, and every public space is imbued with a political story that deserves preservation and thoughtful reinterpretation.

Further Reading

The article interlinks with several other Slow Reads pieces that deepen the conversation:

• “The Architecture of the Dhaka Museum” – a detailed look at how the museum’s design reflects colonial and post‑colonial legacies.
• “Urban Planning in Bangladesh: From Colonial to Contemporary” – an overview of Dhaka’s spatial evolution.
• “Green Architecture in South Asia” – a comparative analysis of sustainability practices across the region.

These links provide richer context for anyone interested in how Bangladesh’s architectural heritage continues to shape—and be shaped by—its political landscape.