Renowned for its culinary heritage and filled with serene vistas, Dhaka is the capital of Bangladesh. The architecture of this city is mainly characterised by features of Mughal Architecture and Indo-Saracenic architecture. Its historic architectural beauty is primarily seen in the mosques, churches, and educational institutions scattered in the city.
Adaptive reuse is the effective concept of repurposing an existing building, optimising sustainability concepts, energy efficiency, and building value. Many abandoned or old factories, warehouses, and lighthouses are often repurposed to breathe new life into empty historic structures. It acts as a form of redevelopment with some renovation and without demolition.
Dhaka’s tanneries are mainly populated in the centre of the leather industry located in the Hazaribagh district. Thousands of workers depend on the leather industry for their livelihood, even though they work under challenging conditions in these tanneries. They are a major source of economic activity. Still, they have also been a source of significant environmental pollution of the Buriganga River, the major waterway of the city, through its untreated toxic chemicals. Currently, they are undergoing a relocation effort to a new facility with improved waste treatment infrastructure.
Environmental Imperative
The abandoned tanneries of Hazaribagh are repurposed to contribute to Dhaka’s socio-economic and environmental well-being. The concept of adaptive reuse for these structures promotes a sustainable approach and minimises waste by utilising the existing structure. It is also advantageous as the tannery buildings are often constructed of strong and sturdy materials like steel and brick. This helps extend the structure’s lifespan and minimises the need for further construction.
Socio-Economic Opportunities
Revitalising Hazaribagh through adaptive reuse welcomes a range of economic prospects as these tanneries can house businesses, studios, recreational facilities, co-working spaces, eateries, etc., essential to Dhaka’s growth. It allows increased economic activity and fosters social interaction and relationships through its created public spaces. It also encourages local communities to set up their businesses, giving them an opportunity for cultural exchange and community spirit.
Structural Heritage
Hazaribagh holds a significant industrial history when it comes to its tanneries. Load-bearing beams, construction materials, high ceilings, etc., are core elements of the industrial past and serve as a reminder of the heritage of Dhaka. Brihatta has retained the core nature of the Mukti Tannery, weaving new stories into the foundation of the old structure, transforming the space without discarding the lived experience of its tragic past.
Brihatta Art Foundation
This art foundation was flipped into an art space from an old tannery. The open rooftop welcomes artists to display their work and acts as an exhibit. ‘Mukti’ is now considered a “breath of fresh air” amongst the polluted areas of Dhaka. This new abode allows artists to work and reconnect with their art founded by Bishwajit Goswami and Nusrat Mahmud. Brihitta aimed at the collaboration between artists, craftsmen, local and expat community members with global practitioners to curate and create a dynamic platform for art within the public realm. This organisation is completely research-based and artist-run with a strong focus on community development and collaboration.
“The thing about Brihatta is that I feel like it’s a space where people come together, and where they experiment and kind of engage in dialogue that continues and builds upon relevance,” shares co-founder Nusrat Mahmud while expressing her thoughts on the space.
This space gives the artists a sense of freedom with its open and free open-to-sky courtyard. The interior open layout is set to be an interactive space for sculptures, performances, exhibits, and crafts. The main aim here was to bring back life into the tannery by creating a centre for art and artists. The founder, Goswami’s artistic touch adds vibrance to the lifeless space. His painting of the Kadam tree from his childhood memory acts as a trace of the fabled garden near this tannery. The painting, in three layers, captures the rich essence of art, the layers being :
- Sannikat – Bangla’s mantra of a new flow making connections through language, words and dialogue
- Silhouette – Trace of the Kadam tree with clay applied by hand
- Mughalism – Mughal-inspired painting of the Kadam tree
The ‘Maa-Maati-Manush-Swadesh-Bhasha-Prokriti’ workshop by Brihatta Art Foundation and Rakahine Community was a site-specific project. The commitment of BAF’s principles to this is evident in its artistic endeavours and community initiatives.
Atelier Robin Architects
Amidst the toxic smell and old leather, Atelier Robin Architects stands as one of the leading firms in Dhaka, Bangladesh. The design and development of this workplace among the tanneries reflects the potential for other industries to be influenced into establishing their offices through revitalising the old tanneries.
Founded by Salahuddin Ahmed, ARA focuses on sustainability and innovation with great commitment to the community through their designs. Graduated from the Bangladesh University of Engineering and Technology, Salahuddin is actively involved in the architectural community and considers the context of the space to be majorly focused on.
The ARA studio is a blend of tradition and modernity seeking to preserve heritage through architectural creativity. The original character of the tannery is one of the primary reasons for him to have chosen this space for his studio. The entire studio occupies 6500 sq ft in layout, of which, the Gol Ghor or Round House was an existing structure, the floor being a hide-drying area. With 0 windows and a wooden roof, this part of the design was perceived in a way to be an open space with a red semi-elliptical table that allows people to talk to each other and conduct meetings. This table was imagined to be a droplet of cow blood, with a dynamic form, contrasting to the perfectly round room. It was symbolic of the struggle of the many slaughtered cows, with whose skin the shoes, jackets, etc. were made. The outer walls act as a space to display artwork.
The open layout is designed with large tables and unique desks that can rotate 360 degrees intended for the freedom of the employees to choose a direction to work in every day. The layout is segregated into a lecture space, an exhibition space, a brainstorming and work area, and a hangout space.
With enough space for privacy and division, the studio is meticulously designed to embrace minimalism. The entrance door is 12ft, made of steel, acting as a symbolic gesture to each self of reaching a stature of great significance. Metalwork is one of the unique features of the studio’s interior design in the form of stools, plant holders, etc.
The basic colour of the studio is white, reflecting an empty canvas ready to be painted with creativity, ideas, and colours, making it a win-win situation. With ample natural lighting and indoor plants, this studio encapsulates a relaxed environment to enhance creative designs. The lighting layout and colour temperatures were considered carefully, to achieve economic budgets, thus single tubes were used. Fragrances of the blooming garden in the south enter the studio through the windows.
The biggest architectural challenge faced by Salahuddin was the electrical layout in terms of minimal electrical wastage and direction of light. An exposed ceiling helped achieve an order of linearity with no looking back. The architect aimed to perceive the hidden beauty of the tannery that is reflected in the studio.
Dhaka’s architectural and sustainable initiative of repurposing abandoned tanneries offers urban development and community interaction a unique opportunity. The city can focus on its vibrance, economy, environment, and community while preserving industrial heritage through the adaptive reuse approach. This transformation acts as a model for other cities facing similar challenges to come through and shape an innovative, creative, and sustainable future.
References:
- Web References
- The Dhaka Crawler – An urban metamorphosis in an abandoned corner of Dhaka. An urban metamorphosis in an abandoned corner of Dhaka. https://dhakacrawler.com/posts/urban-metamorphosis-abandoned-corner-dhaka
- http://brihatta.com
- Banglapedia. Tannery. https://en.banglapedia.org/index.php/Tannery
- Prantography. Design Studio. https://prantography.com/architecture-interior/design-studio-atelier-robin-architects/
- https://m.youtube.com/watch?si=njMSxrH3k0-VCgNK&fbclid=IwZXh0bgNhZW0CMTEAAR29ZzTVx5sH2Yqsy0FdCAxJvqWnKamy6w-fcvpDo5_h4ogXoHpAAIZlzqg_aem_6FbPkRkMXXKaEuTQVnPPiw&v=NGWPmXEhmmw&feature=youtu.be
- Image References
1. https://undark.org/2017/02/21/leather-tanning-bangladesh-india/
- https://www.researchgate.net/figure/Figure1-The-discharge-of-tannery-effluent-in-Bangladesh_fig1_305942310
- https://www.ifindia.in/villa-swagatam/brihatta-art-foundation.php
- https://parisinternationale.com/artfairs/2023/exhibitors/brihatta-art-foundation
- http://brihatta.com/projects/maa-maati-manush-swadesh-bhasha-prokriti/
- https://m.youtube.com/watch?si=njMSxrH3k0-VCgNK&fbclid=IwZXh0bgNhZW0CMTEAAR29ZzTVx5sH2Yqsy0FdCAxJvqWnKamy6w-fcvpDo5_h4ogXoHpAAIZlzqg_aem_6FbPkRkMXXKaEuTQVnPPiw&v=NGWPmXEhmmw&feature=youtu.be
