Muzharul Islam, a pioneering figure in Bangladeshi architecture, is celebrated for his transformative contributions to modern architecture in South Asia. His work, particularly the Faculty of Fine Arts at Dhaka University (1953–1956), not only redefined architectural design but also became a cultural beacon, reflecting the ideals of a newly emerging nation. His philosophy on architecture was not simply about creating functional spaces; it was about using design as a means for social change.
The Faculty of Fine Arts, in its fusion of modernist aesthetics with local needs and cultural identity, is a reflection of his belief that architecture can shape a nation’s consciousness, foster its identity, and articulate its aspirations.
His return to South Asia in 1952, following the Partition of India and the subsequent creation of Pakistan, marked a period of profound political and cultural upheaval. The partition not only divided a region rich in cultural heritage but also set the stage for decades of tension between East and West Pakistan. The East, where Bangladesh was later to emerge, faced a political structure dominated by elites from the western part of the country, with little regard for the cultural and linguistic uniqueness of the Bengali people.
The 1952 Language Movement, which saw students in Dhaka protesting for the right to speak Bengali, was a defining moment in the history of Bangladesh. The event would shape much of Muzharul Islam’s worldview. He viewed architecture as a tool that could assert the Bengali identity in the face of a dominating Pakistani nationalism. For him, architecture became a symbol of resistance—an assertion of secular Bengali culture, distinct from the religious and political ideologies imposed by the state.
The Faculty of Fine Arts at Dhaka University is perhaps his most iconic work, and it is in this building that his vision of architecture as a tool for social change truly comes to life.
While the building follows the international modernist style, it is uniquely adapted to the local context. The modernist principles of clean lines, open spaces, and functional design are evident, but his careful attention to the environmental conditions of Bengal—its tropical climate, monsoon rains, and local building materials—distinguishes the Faculty of Fine Arts from other buildings of its time.
The design is not just a reaction to Western architecture but an act of contextualization. He understood that modernism could not simply be imported wholesale from the West; it had to be reinterpreted in a way that aligned with local conditions and cultural identity. For example, the use of concrete and exposed brickwork was not just an aesthetic choice but a practical one, rooted in local building practices. The open courtyards and airy spaces within the building are designed to allow for natural ventilation, reducing reliance on artificial cooling systems—a design choice that acknowledges the tropical climate of the region. Moreover, Muzharul Islam’s rejection of colonial architectural styles is significant. The building deliberately distances itself from the grandiose colonial structures that had been a symbol of domination and control. Instead, he embraced modernism, a style that was progressive, forward-looking, and international, but adapted it in a way that reflected the cultural and climatic needs of Bengal.
His design was, in essence, a decolonial act—an assertion of architectural identity that was both modern and distinctly Bengali.
The Faculty of Fine Arts is also a reflection of his vision for a secular Bengali identity, a vision that he believed was central to the future of Bangladesh. At a time when religious nationalism was being promoted by the ruling authorities, his design for the Fine Arts Faculty rejected religious symbolism. This was not an attempt to diminish the importance of religion but rather to create a space that was inclusive, humanistic, and focused on education, creativity, and expression.
Muzharul Islam’s design philosophy was rooted in his belief in secularism as the foundation of a democratic society. By creating a building that was free from religious iconography, he set a precedent for the role of architecture in shaping the public sphere. The Faculty of Fine Arts, with its open and inclusive spaces, became a symbol of intellectual freedom and creative expression, values that were at odds with the political climate of the time. For him, the building represented a secular space for the flourishing of the arts, free from the constraints of religious or political ideologies.
Today, the Faculty of Fine Arts stands not only as a work of architectural significance but also as a cultural and political symbol. Over the decades, it has become a hub for artistic expression and intellectual debate, housing students and faculty members who continue to contribute to Bangladesh’s vibrant cultural scene. The building, in many ways, has come to represent the aspirations of the Bengali people—an aspiration for a future where cultural freedom, secularism, and national identity are not just ideals but concrete realities. Moreover, the Faculty of Fine Arts is inextricably linked to the political history of Bangladesh. The Language Movement of 1952, the struggle for independence in 1971, and the ongoing quest for a secular, democratic society have all been reflected in the building’s cultural and political significance.
The Fine Arts Faculty is not just a place where art is created; it is a place where national identity is forged and where the political and cultural narratives of Bangladesh are shaped.
Muzharul Islam’s legacy is felt not only in the buildings he designed but also in the broader narrative of Bangladesh’s architectural history. His work demonstrated that architecture could be a means of social change, a way to express identity, and a tool for political and cultural resistance. As the Faculty of Fine Arts continues to serve as a focal point for the artistic and intellectual life of Bangladesh, it stands as a lasting symbol of Muzharul Islam’s belief in the power of architecture to shape the future of a nation.
