A STUDY ON THE EVOLUTION OF PHYSICAL AND SPATIAL ATTRIBUTES

IN THE ARCHITECTURAL WORKS OF ROBERT G. BOUGHEY IN

BANGLADESH

By

Fatema Tasmia

A thesis submitted in partial fulfillment of the requirement for the degree of

MASTER OF ARCHITECTURE

March 2020

Department of Architecture,

BANGLADESH UNIVERSITY OF ENGINEERING & TECHNOLOGY

Dhaka, Bangladesh
2|
CANDIDATE’S DECLARATION

It is declared that this thesis or any part of it has not been submitted elsewhere for the award of
degree or diploma.

Signature:

------------------------------------------
Fatema Tasmia

3|
 Dedicated to
My parents
Md. Shamsud Doha
Rowshan Ara Begum
&
My entire family

4|
Acknowledgments
At first, I would like to thank Almighty Allah for giving me the strength and patience to carry on the intricate
tasks of the research. I would like to convey my sincere appreciation to the people who helped, encouraged
and supported me during my research work.
I would like to express my profound gratitude to my supervisor Mahmudul Anwar Riyaad, Associate
Professor, Department of Architecture, Bangladesh University of Engineering & Technology (BUET) for
his tireless efforts and encouragement throughout my research work. He inspired me to explore the avenues
of the modern history of architecture and guided me during the entire journey. I will be ever grateful for his
pertinent guidance and supervision that have given me ample flexibility in thinking to achieve my research
goal.
I would like to extend my sincere gratitude to Architect Robert G. Boughey, who has given tremendous
support virtually and being the most significant resource person of my research. It would not be possible
for me to continue this research without his support and enthusiasm. I would like to extend my gratitude to
Architect Rafique Islam for the valuable resources he has given me. I would like to thank all the respect
architects for giving time to take their interviews.
I would like to thank Prof. Dr. Khandaker Shabbir Ahmed, Prof. Dr. Nasreen Hossain, Prof. Dr. Shayer
Ghafur, Prof. Dr. Qazi Azizul Mowla, Prof. Dr. M. Zakiul Islam, Atiqur Rahman, Dr. Nayma Khan, Md.
Tahajibul Hossain and Brishti Majumder for their inspiration and support.
Finally, I would like to express my very insightful thankfulness to my parents Md. Shamsud Doha and
Rowshan Ara Begum for supporting me throughout my years of study. This accomplishment would not
have been possible without them. My very special thanks to my husband Mahmudur Rahman Ayon who
has been a tremendous support throughout this journey and helped me in making this study successful. I
would like to cordially thank my students Nayem Ahasan Srijon and Roufat Nahin Priota, for their generous
support during the surveys, drawing processing and drafting.

5|
Abstract
From 1930 to 1950, the years are significant for political turbulence and change, not only in Asia but
worldwide as many countries achieved their political liberty from European subjugation. The partition of
India in 1947 resulted in the emergence of a new context with the new socio-political and geographical
territory. For the sake of new identity for the new context, several initiatives were taken to revive the cultural
growth and as a consequence, some new architectural developments were observed in both East and West
Pakistan that were unseen since colonial subjugation. Due to the very limited number of local architects,
several foreign architects were hired in East Pakistan during the mid-fifties to late-sixties under different
international agencies to design and conduct local development projects. Foreign architects Louis I. Kahn,
Paul Rudolph, C. A. Doxiadis, Richard Neutra, Daniel Dunham, Robert G. Boughey, Stanley Tigerman
have significantly contributed in shaping up the architectural outlook of a newly decolonized country.
Among these architects, a young aspirant architect Robert George Boughey (RGB), the chief architect of
Louis Berger Ltd in East Pakistan was well embedded in the context and gradually developed a consistent
architectural language, consist of vocabularies developed through intimate scrutiny of the local context.
With a mainstream modernist training, how he introduced such architectural vocabulary in his early stage
of career, strikes in mind while visiting his works in Bangladesh. How architect Boughey’s sensitive
architectural thoughts responded to warm humid subtropical climatic context, its unique regional identity
and complex cultural reality in terms of developing the physical attributes and spatial articulation, is the
primary topic of research. The objective of this study is to analyze and synthesize the works of architect
Boughey with the help of some evaluative criteria used in the domain of architectural research in the field
of History, Theory, and Criticism to trace the evolution of physical and spatial attributes in his works and
to locate his position in the broader history of Tropical Modernism in this region.
This research has gone through a sequential process of literature review, case study survey, collection of
drawings, taking interviews for archival and evidential resource exploration; and finally the analysis of the
collected works through identified elements with the help of evaluative criteria to identify his design
considerations and to locate him among the pioneer architects whose work have played significant roles in
establishing theory and practices of region-specific late modernism and beyond, particularly in the non-
Eurocentric context.
The findings from his architectural principles manifested in real projects, are reviewed against the core
value of the theories of modernism and beyond to trace the significance of his architectural works to
establish him as a true pioneer of Tropical Modernism and Critical Regionalism in the history of South
Asian modern architecture in the post-colonial era.

Keywords:
Attributes, Climate, Context, Critical Regionalism, Regional Identity, Robert G. Boughey, Tropical
Modernism

6|
Table of Contents
Chapter 01: Introduction ......................................................................................................................... 15
1.1 Background and Statement of the Problem................................................................................. 16
1.2 Aim and Objectives..................................................................................................................... 16
1.3 Outline of Methodology: ............................................................................................................. 17
1.4 Research Methodology ............................................................................................................... 18
1.4.1 Interpretative Historical Research (I.H.R): ......................................................................... 18
1.4.2 Case Study: ......................................................................................................................... 19
1.4.3 Correlational Research (CO. R): ......................................................................................... 19
1.5 Composition of the Thesis: ......................................................................................................... 20
Chapter 02: Foreign Campaign and Its Influence in Architecture and Socio-Political Context of the
Underdeveloped Orient ............................................................................................................................ 22
2.1 Diachronic History of Indian Subcontinent: ..................................................................................... 23
2.1.1 Ancient to Pre-British Phase ............................................................................................... 23
2.1.2 British Colonial Phase:........................................................................................................ 26
2.1.3 Indian Subcontinent in Post British phase .......................................................................... 27
2.1.4 Cold War and Post-Colonial Third World .......................................................................... 29
2.1.5 Impact of Cold war on India and Pakistan .......................................................................... 29
2.2 Synchronic History of India and Surroundings during Post WWII phase ........................................ 32
2.2.1 Modernism and Modern Architecture around the world..................................................... 33
2.2.2 End of Imperialism and Birth of Neo-colonialism .............................................................. 34
2.2.3 Impact of Neo-Colonialism on Socio-Cultural Aspects of “Third World Countries”: ....... 36
2.2.4 Employment of major foreign architects in the post-British colonial phase in Indian
Subcontinent: ...................................................................................................................................... 40
2.2.5 Foreign architects in East Pakistan and Employment of RGB as a foreign architect ......... 41
2.3 Impact of Architect Robert G. Boughey’s Works on Next Generation Local Architects: ................ 47
Chapter 03: Philosophy and Design Principles of Architect Robert G. Boughey ............................... 48
3.1 Background ................................................................................................................................. 49
3.2 Architectural Practice of Architect Boughey .............................................................................. 52
3.3 Comprehensive Philosophy of Architect Boughey ..................................................................... 55
3.4 Principles Manifested in Architect Boughey’s Designs.............................................................. 61
3.5 Some General Understandings of Architect Boughey ...................................................................... 64
Chapter 04: Architectural Works of Robert G. Boughey in Bangladesh ............................................ 65
4.1 Buildings with Cellular Space........................................................................................................... 66
4.1.1 Residential Buildings ................................................................................................................. 66

7|
 4.1.2 Institutional Buildings ................................................................................................................ 82
4.2 Buildings with Congregational Spaces ....................................................................................... 91
Chapter 05: Identifying Physical and Spatial Attributes in the Architectural Works of Robert G.
Boughey in Bangladesh........................................................................................................................... 109
5.1 Architectural Attributes............................................................................................................. 110
5.2 Summary: .................................................................................................................................. 177
Chapter 06: Interpretation of Architect Robert G. Boughey’s Works in relation to Relevant Tenets
of Architectural Theories ....................................................................................................................... 178
6.1 Modernism and RGB through the lenses of Modernism ................................................................ 180
6.1.1 The Logical Tradition: ............................................................................................................. 181
6.1.2 The Idealist Tradition: .............................................................................................................. 181
6.1.3 The Self-Conscious Tradition: ................................................................................................. 181
6.1.4 The Intuitive Tradition: ............................................................................................................ 181
6.1.5 The Activist Tradition .............................................................................................................. 181
6.1.6 The Unself-conscious Tradition ............................................................................................... 181
6.1.7 Sculptural Form: ...................................................................................................................... 182
6.1.8 Extreme Articulation ................................................................................................................ 183
6.1.9 The Second Machine Aesthetic................................................................................................ 183
6.1.10 Works of RGB through the lenses of Modernism: ................................................................. 184
6.2 Tropical Modernism and RGB through the lenses of Tropical Modernism ................................... 188
6.2.1 Tropical Modernism:................................................................................................................ 188
6.2.2 Regional Factors for Tropical Architecture ............................................................................. 191
6.3 Critical Regionalism: Ten Points on an Architecture of Regionalism and RGB through the lenses of
Critical Regionalism ............................................................................................................................. 211
6.3.1. Point 1: Critical Regionalism and Vernacular Form ............................................................... 212
6.3.2. Point 2: The Modern Movement ............................................................................................. 214
6.3.3. Point 3: The Myth and the Reality of the Region ................................................................... 215
6.3.4. Point 4: Information and Experience ...................................................................................... 216
6.3.5. Point 5: Space/Place ................................................................................................................ 217
6.3.6. Point 6: Typology/Topography ............................................................................................... 219
6.3.7. Point 7: Architectonic/ Scenographic...................................................................................... 220
6.3.8. Point 8: Artificial/Natural ....................................................................................................... 221
6.3.9. Point 9: Visual/Tactile ............................................................................................................ 223
6.3.10. Point 10: Post Modernism and Regionalism: A summation. ................................................ 224
6.4 Conclusion: ..................................................................................................................................... 227

8|
Bibliography ............................................................................................................................................ 230

List of Figures:
Figure 1: Indo Aryan Migration towards India ........................................................................................... 24
Figure 2:Gandhara Buddha, Source: The history of the world (Left) ........................................................ 25
Figure 3: Alexander’s defeated invasion of India (Middle), ....................................................................... 25
Figure 4: Greek Influence on Indian Mythology (Right) ............................................................................ 25
Figure 5: Pietra Dura ................................................................................................................................... 26
Figure 6:Mughal Carpet .............................................................................................................................. 26
Figure 7: Qutub Minar in 1860 ................................................................................................................... 26
Figure 8: The Taj Mahal ............................................................................................................................. 26
Figure 9: Treating foreigners (Visualization of colonialism) (Left) ........................................................... 28
Figure: 10Indian Railway in British Period (Middle) ................................................................................. 28
Figure 11: Tanna Railway Viaduct (Right)................................................................................................. 28
Figure 12:India Pakistan Partition in 1947 ................................................................................................. 28
Figure 13: Foreign Architects in East Pakistan ........................................................................................... 31
Figure 14: Letter of M. F. Dunham about the Conditions in East Pakistan when Dunham and she arrived
in the fall of 1960 ........................................................................................................................................ 32
Figure 15: Berger Office Team in Dhaka in the 60s ................................................................................... 32
Figure 16: Bauhaus School (left) ................................................................................................................ 34
Figure 17:Le Corbusier’s Dom Inno House(right)...................................................................................... 34
Figure 18:Maxwell Fry and Jane Drew in Chandigarh, India (Left) .......................................................... 39
Figure 19: Wesley Girls’ School, Cape Coast: Maxwell Fry in front of dormitory blocks (Middle) ......... 39
Figure 20: Jawaharlal Nehru, Otto Koenigsberger, Amrit Kaur and unknown others visit the Housing
Factory, 1950. (Right) ................................................................................................................................. 39
Figure 21: Government Housing Factory with aerated concrete panels in the foreground, 1950. (Left) ... 39
Figure 22: Gardner-Medwin and students surveying vernacular architecture in Africa (Middle) .............. 39
Figure 23: Colonial housing in the ‘West Indies’, circa the 1770s (Right) ................................................ 39
Figure 24:Architect Le Corbusier with Jawaharlal Nehru (Left) ............................................................... 40
Figure 25:The Shodhan House by Architect Le Corbusier (Right) ............................................................ 40
Figure 26: Kahn and associates in his office working on site model of National Parliament building,
Dhaka .......................................................................................................................................................... 40
Figure 27:: Lumbini International Institute by Kenzo Tange (Left), .......................................................... 41
Figure 28: New Market, Dhaka by Edward Hicks(Right) .......................................................................... 41
Figure 29:Faculty of Fine Art, Dhaka University (left) and Central Library building, Dhaka University
(right) .......................................................................................................................................................... 42
Figure 30:DIT Building (Left) .................................................................................................................... 43
Figure 31:Baitul Mukarram National Mosque(Middle).............................................................................. 43
Figure 32: Bird’s-eye view of the Academy for Village Development, Comilla (Right) ........................... 43
Figure 33: Dhaka office of Louis Berger in 1961 ....................................................................................... 43
Figure 34: Employees of LBG Dhaka Office, Dacca 1965 Photo Credit: Daniel Dunham, collected from
Rafique Islam .............................................................................................................................................. 43
Figure 35: Company Title and Address of LBG Dhaka Office .................................................................. 45
Figure 36:Architect Dunham’s interaction with students at the Faculty of Architecture BUET ................ 45
Figure 37:Architect Dunham teaching at the Faculty of Architecture BUET............................................. 45
Figure 38:Architect Walden teaching at the Faculty of Architecture BUET .............................................. 45

9|
Figure 39: Letter from architect Dunham to Dr. Berger on his departure from LBG Dhaka office (Page
01) ............................................................................................................................................................... 46
Figure 40:Letter from architect Dunham to Dr. Berger on his departure from LBG Dhaka office (Page 02)
.................................................................................................................................................................... 47
Figure 41:Achievements of architect Boughey ........................................................................................... 50
Figure 42: Timeline of Architect Boughey’ educational and architectural practice ................................... 51
Figure 43: Architect Boughey in Louis Berger Ltd Dhaka Office.............................................................. 52
Figure 44:Huamark Indoor Stadium by Boughey in 60s, Bangkok, Thailand............................................ 54
Figure 45:Bangkok Art and Culture Center (top left),Bank of America Bangkok (top right), Bangkok
Pattana School (bottom left and middle) and SCB Training Center Chonburi (bottom right) ................... 54
Figure 46: Boys Hostel BUET in 1960s ..................................................................................................... 67
Figure 47:Plan, Elevations and Section of Boys Hostel BUET .................................................................. 67
Figure 48: Boys Hostel BUET just after construction in the 1960s ........................................................... 68
Figure 49:Rain Device and Downspouts, Boys Hostel BUET in 1960s ..................................................... 69
Figure 50:Rain Device and Hand-wash Area (Existing View) ................................................................... 69
Figure 51: Downspouts (Existing View) .................................................................................................... 69
Figure 52:View towards courtyard and Common room Block, Boys Hostel BUET .................................. 70
Figure 53:View Towards South Wing, Boys Hostel BUET ....................................................................... 70
Figure 54:View towards Common Rom Block Corridor and Staircase (Left and Middle), View towards
Hand wash zone .......................................................................................................................................... 70
Figure 55:View towards south side, Priests and Seminarians Residence, NDC in 1960s .......................... 72
Figure 56:Thin Louvers (Old photograph)(Left) ........................................................................................ 72
Figure 57:North Side View (Old photograph)(Right)................................................................................. 72
Figure 58:Plans and Elevation of Priests and Seminarians Residence, NDC ............................................. 74
Figure 59:South Elevation of Priests and Seminarians Residence, NDC ................................................... 74
Figure 60:South Elevation of Priests and Seminarians Residence, NDC (Existing View) ......................... 75
Figure 61:North Elevation from North Wing, (Existing View) .................................................................. 75
Figure 62:Plan and Elevation of Priest and Seminarians Residence, SJHSS.............................................. 77
Figure 63: View from the open space between academic and hostel wing, Holy Family Nursing School
(old photo)................................................................................................................................................... 78
Figure 64:Ground Floor Plan of Holy Family Nursing School and Hostel ................................................ 79
Figure 65:Plan and Elevation of Holy Family Nursing School Hostel Block ............................................ 79
Figure 66:Perspective view of Holy Family Nursing School ..................................................................... 80
Figure 67:view from inner courtyard of Holy Family Nursing School (Existing View) ............................ 80
Figure 68:Fenestration Pattern and Interior view of the Dining hall ......................................................... 81
Figure 69:T shaped Divider in elevation..................................................................................................... 81
Figure 70:Vertical Circulation (Stair .......................................................................................................... 82
Figure 71:St. Joseph Higher Secondary School .......................................................................................... 83
Figure 72:St. Joseph Higher Secondary School view from North-West Corner ........................................ 84
Figure 73:Plan and Elevations of St. Joseph Higher Secondary School ..................................................... 85
Figure 74:St. Joseph Higher Secondary School .......................................................................................... 85
Figure 75: Existing View of the School (Left) .......................................................................................... 86
Figure 76:Open plinth on the south wing (Right) ....................................................................................... 86
Figure 77:Original Plan and Elevation of Civil Engineering Faculty Building .......................................... 88
Figure 78:Existing view of Civil Engineering Faculty Building BUET ..................................................... 88
Figure 79: Civil Engineering Faculty Building BUET ............................................................................... 89

10 |
Figure 80: Original Perspective, South and North Elevations of Civil Engineering Faculty Building
BUET .......................................................................................................................................................... 90
Figure 81:View towards North Side Entrance, Gymnasium, BUET .......................................................... 92
Figure 82:Plan and Elevation of Gymnasium, BUET ................................................................................. 94
Figure 83:View towards West Side, Gymnasium, BUET........................................................................... 94
Figure 84:View towards West Side, Gymnasium, BUET........................................................................... 95
Figure 85:Staircase mass(Right) ................................................................................................................. 95
Figure 86:Indoor main hall with clearstory................................................................................................. 95
Figure 87:First Scheme Master plan of Kamalapur Railway Station.......................................................... 98
Figure 88:First Scheme South and West elevation of Kamalapur Railway Station.................................... 98
Figure 89:Letter of architect Boughey to Mary Frances Dunham about his new position in LBG ............ 99
Figure 90:Representation of ‘Dome Umbrella Concept’ in Elevation...................................................... 100
Figure 91:View from the south side, Kamalapur Railway Station ........................................................... 100
Figure 92:Then Shelled Canopy ............................................................................................................... 100
Figure 93:Local Construction technique using bamboo scaffolding and reusable molds......................... 101
Figure 94:Railway Mail Sorting Office, Kamalapur Railway Station ...................................................... 101
Figure 95:Ground Floor Plan , Kamalapur Railway Station ..................................................................... 102
Figure 96:Spiral stair adjacent to entry (Left) ........................................................................................... 104
Figure 97:View Towards Access (Right).................................................................................................. 104
Figure 98:Plan and Elevation of Rajshahi University Cafeteria ............................................................... 106
Figure 99:Top View (left) ......................................................................................................................... 107
Figure 100:View towards the south side, Rajshahi University Cafeteria in the 1960s ............................. 107
Figure 101:Existing view towards the south side, Rajshahi University Cafeteria .................................... 107
Figure 102: Rajshahi University Library .................................................................................................. 107
Figure 103: The Evolutionary Tree 1920-1970 ........................................................................................ 180
Figure 104: Timeline of Late Modernism ................................................................................................. 183
Figure 105: BUET Gymnasium(Left) ....................................................................................................... 185
Figure 106: Holy family Nursing School(Right) ...................................................................................... 185
Figure 107: Civil Engineering Faculty Building....................................................................................... 185
Figure 108:Common and Prayer Room Block, Boys Hostel BUET ......................................................... 185
Figure 109: St. Joseph School (left); Priests’ and Seminarians’ Residence, NDC (Middle) and BUET
Gymnasium (Right) .................................................................................................................................. 185
Figure 110: Illustration by architect Robert Boughey about priests’ and seminarians’ residence, NDC . 186
Figure 111: Illustration by architect Robert Boughey about priests’ and seminarians’ residence, NDC . 187
Figure 112: Illustration by architect Robert Boughey about priests’ and seminarians’ residence, NDC . 188
Figure 113: (Left) Bishop College by Geoffrey Bawa, (Right) Sarasota High School by Paul Rudolph . 190
Figure 114: Boys Hostel BUET ................................................................................................................ 190
Figure 115: Priority on Using Concrete and responding to climate through design attributes; St. Joseph
Higher Secondary School, Boys Hostel BUET, Priest’ and Seminarians’ Residence, NDC; Kamalapur
Railway Station (from left to right)........................................................................................................... 191
Figure 116: Illustration by architect Robert Boughey about BUET Gymnasium ..................................... 191
Figure 117: Construction of Kamalapur Railway station using local material and workforce ................. 193
Figure 118: Account of Dacca, A Hut beside a Tomb (Mosque) by George Chinnery in 1816 (Left) .... 194
Figure 119: Rural Mud House, Bangladesh (Middle)............................................................................... 194
Figure 120: Two storied Rural Mud House, Bangladesh (Right) ............................................................ 194
Figure 121: Kantajew Temple, Bangladesh (Most left) ............................................................................ 194
Figure 122: Paharpur Bihar, Bangladesh(left) .......................................................................................... 194

11 |
Figure 123: Shat Gombuj Mosque, Bangladesh (Most Right) .................................................................. 194
Figure 124: Oxford Mission Church, Barisal, Bangladesh (Right)........................................................... 194
Figure 125: Use of locally available material in Priest and Seminarians’ Residence, NDC (Left) .......... 195
Figure 126: Use of locally available material in Gymnasium, BUET (Right) .......................................... 195
Figure 127: Local Construction Technique used in Kamalapur Railway Station using reusable formwork
(Left and Middle) ...................................................................................................................................... 197
Figure 128: Local Construction Technique used in Rajshahi University Cafeteria .................................. 197
Figure 129: East-West Elevation Boy’s Hostel BUET (Left) ................................................................... 197
Figure 130: Reduction of column cross-section from ground level to upper level (Clockwise)(Right) ... 197
Figure 131: Architect Boughey’s note and illustrations about using louvers in East-West Façade ......... 198
Figure 132: Architect Boughey’s note and illustrations about how he addressed climatic considerations as
building attributes. .................................................................................................................................... 199
Figure 133: Architect Boughey’s note and illustrations about how he addressed draining rain in his
buildings.................................................................................................................................................... 200
Figure 134: Rain Downspout, Rainwater Collector/Gutter and Scoopers respectively (left to right) in Boys
Hostel BUET, Common Room and Prayer space, Boys Hostel BUET, Gymnasium BUET and RU
Cafeteria .................................................................................................................................................... 200
Figure 135: Rainwater Collector/Gutter in SJHSS (Left) ......................................................................... 201
Figure 136: Rain Downspout and Rainwater Collector/Gutter in Civil Engineering Faculty Building
BUET (Right)............................................................................................................................................ 201
Figure 137: Sun protection jalis or grills were designed on the perimeter in drawing ............................. 201
Figure 138: Model Photograph of the peripheral jalis Kamalapur Railway Station ................................. 201
Figure 139: Model of Priest and Seminarians Residence, SJHSS ............................................................ 201
Figure 140: Illuminated indoor space of Rajshahi University Cafeteria, provision of cross ventilation
when wooden doors are opened(Fans were installed latterly) ................................................................. 201
Figure 141: Shading Devices used by Architect Boughey in his buildings (Clockwise NDC, Boys Hostel
BUET, Civil Engg. Faculty Building BUET, SJHSS and Holy Family Nursing School Hostel .............. 202
142: A hillside house in Switzerland (Left) .............................................................................................. 203
Figure 143: Works of Geoffrey Bawa (Middle and Right) ....................................................................... 203
Figure 144: Ground Floor Plan of Priest and Seminarians Residence, NDC ........................................... 203
Figure 145: View towards the courtyard, Boys Hostel BUET .................................................................. 203
Figure 146: Rajshahi University Cafeteria................................................................................................ 203
Figure 147: Rural Traditional House (Left) .............................................................................................. 205
Figure 148: Jor bangla Temple, West Bengal (Middle) and Abhaynagar Temple (Right) ....................... 205
Figure 149: Traditional influence in RGB’s Design of Holy Family Nursing School ............................. 205
Figure 150: Sketch of Bara Katra drawn in 1874(Left) ............................................................................ 206
Figure 151: Painting of Gateway of Nawab Bari (Middle)....................................................................... 206
Figure 152: South Entry of Lalbagh Fort by a British painter (Right)...................................................... 206
Figure 153: Gateway of Dhaka New (Left) .............................................................................................. 206
Figure 154: Hotel Intercontinental (Midle) and Baitul Mukarram National Mosque in the 1960s (Right)
.................................................................................................................................................................. 206
Figure 155: Kamalapur Railway Station, a rear view representing symbolic architecture ....................... 207
Figure 156: Kamalapur Railway Station, differently perceived in three dimension ................................. 207
Figure 157: Interior view of Shat Gombuj Mosque and Chhoto Sona Mosque, examples of spiritual and
symbolic architecture ................................................................................................................................ 207
Figure 158: Kamalapur Railway Station ................................................................................................... 209
Figure 159: Rajshahi University Cafeteria (Left) ..................................................................................... 209

12 |
 Figure 160: Walker Guest House by Paul Rudolph (Right) ..................................................................... 209
Figure 161: Rajshahi University Cafeteria................................................................................................ 209
Figure 162: Plan RU Cafeteria (Left) and Plan of Walker Guest House (Right).................................... 210
Figure 163: Boys Hostel BUET ................................................................................................................ 210
Figure 164: Priests’ and Seminarians’ residence, NDC ............................................................................ 210
Figure 165: Construction with Local Labors and local construction Technique ...................................... 213
Figure 166: Traditional “Khorkhori” Window (Left), Fine window used in NDC by RGB (Middle) and
Brick Jali Used in Boys Hostel BUET by RGB (Right) ........................................................................... 214
Figure 167: Structural logic and functional purpose of elements expressed in formal appearance which is
a sign of Modernism, From Left-right (a. NDC, b. Boys Hostel BUET and c. RU cafeteria ) ................. 215
Figure 168: Master plan of Kamalapur Railway station (Left) ................................................................. 218
Figure 169: Master plan of Boys Hostel BUET (Right) ........................................................................... 218
Figure 170: Ground Floor Plan of Priest and Seminarian’s Residence, NDC .......................................... 218
Figure 171: Architect Boughey’s explanation about Boys Hostel BUET ................................................ 222
Figure 172: Architect Boughey’s explanation about BUET Gymnasium................................................. 223
Figure 173: Illustration by architect Boughey about BUET Gymnasium ................................................. 224

List of Flow Chart:

Flow Chart 1: Outline of Methodology (Step By Step)……………………………………………………21
Flow Chart 2: Tactics of Interpretative Historical Research…………….……………………….………..21
Flow Chart 3: Composition of the Chapters in This Thesis……………………………………..…………21
Flow Chart 4: Diachronic History of Indian Subcontinent…………………………..…………………….23

List of Plate:
Plate 01: Framework and Methodology of the Research…………………………………………………..21
Plate 02: Matrix-Tracing the relationship between specific building attributes and the tenets of general
architectural philosophies...........................................................................................................................178
Plate 03: Timeline of RGB works relating to the timeframe of Modernism, Tropical Modernism,
and Critical Regionalism…………… …………………………………………………...........................228
List of Chart:
Chart 01: Identification of Physical and Spatial Attributes in RGB’s Local works……..……………….111

List of Table:
Table 1: Evidence of Historical Interpretative Research............................................................................. 20
Table 2: List of interviewee architects from three consecutive decades 60s, 70s, and 80s ......................... 47
Table 3: Selected Issues under which attributes will be identified (Prepared by Author) ........................ 110
Table 4: The Architectural Works of Architect Boughey as case studies (Prepared by Author) .............. 110
Table 5: “Orientation” in the Architectural works of RGB (A-Case Study) ............................................. 112
Table 6:“Structure” in the Architectural works of RGB (B-Case Study).................................................. 115
Table 7:“Served and Service” in the Architectural works of RGB (C-Case Study) ................................. 118
Table 8:“Circulation” in the Architectural works of RGB (D-Case Study) .............................................. 122
Table 9:“Geometric Reference” in the Architectural works of RGB (E-Case Study) .............................. 125
Table 10:“Solid and Void in Massing” in the Architectural works of RGB (F-Case Study) .................... 129
Table 11:“Depth of Mass” in the Architectural works of RGB (G-Case Study) ...................................... 132
Table 12:“Formal Articulation and Visual Composition” in the Architectural works of RGB (H-Case Study) 135
Table 13:“Formal Articulation and Visual Composition” in the Architectural works of RGB (H-Case Study) 139
Table 14:“Material Distribution” in the Architectural works of RGB (J-Case Study) ............................. 144
Table 15:“Semiotic Dimension” in the Architectural works of RGB (K-Case Study) ............................. 148

13 |
Table 16:“Semiotic Dimension” in the Architectural works of RGB (K-Case Study) ............................. 151
Table 17:“Spatial Layering” in the Architectural works of RGB (M-Case Study) ................................... 157
Table 18:“Natural Light and Air” in the Architectural works of RGB (N-Case Study) ........................... 160
Table 19:“Shade from Sun and Rain” in the Architectural works of RGB (O-Case Study) ..................... 164
Table 20: Towards a Critical Regionalism: Six points of Architecture of Resistance .............................. 212
Table 21: Ten Points on an Architecture of Regionalism ......................................................................... 212
Table 22: Correlation between the design attributes in the works of architect Boughey and Relevant architectural Tenets (Re

List of Map:
Map 1: Mughal Empire……………………………………………………………………………………….……………....28
Map 2: Trade Routes in 1677….……………………………………………………………………………….…………..…28
Map 3: Pakistan in relation to foreign power…………………………………………………………………....……………30
Map 4: Pakistan’s Strategic Location………………………………………………………………….……..………………30
Map 5: The Tropical Region…………………………………………………………………..……………………...………37
Map 6: Map of Dhaka City by architect Dunham…………………………………………………………………………….97

List of Abbreviation
RGB Robert George Boughey
LBG Louis Berger Engineers Ltd/ Louis Berger Consulting Engineers (Pak) Ltd.

14 |
 Chapter 01: Introduction

“…The experience (in East Pakistan) taught me a lot because it forced me to be creative in my design
with the least tools possible. We did not have the luxuries that you might find in developed countries so
we were forced to work with what we had”-Robert G. Boughey

Preamble
This chapter discusses the Background, Statement of the Problem, Aims-Objectives, Outline of
Methodology, Research Methodology and Composition of the Research. This chapter contains
introductory approaches that have been planned to conduct this research. Based on this chapter, the
upcoming chapters have been composed and arranged sequentially.

15 |
1.1 Background and Statement of the Problem

Some of the significant architectural projects of Bangladesh which were designed during the mid-fifties to
the late sixties strongly guided the next generation architects in realizing the significance of indigenous
responses to the basic issues concerning architecture ( Islam & Miah, 2003). Along with the practice of
several foreign-trained local architects, several foreign architects were hired in Bangladesh (former East
Pakistan) from the mid-fifties to late-sixties to design and conduct local development projects, under the
Ford Foundation grant (Karim, 2016; Chowdhury 1999), World Bank sponsorship and consultancy services
of Louis Berger Consulting Engineers (Pak) Ltd. (LBG) (Islam, 2014). Among the works of foreign
architects, Louis I. Kahn’s National Assembly Building of Bangladesh has been evaluated quite
substantially (Mowla, 2007), but other architectural projects which were led by architect Paul Rudolph, C.
A. Doxiadis, Richard Neutra, Daniel Dunham, Robert G. Boughey, Stanley Tigerman have not been studied
in depth (Chowdhury, 1999). Among them, a young aspirant architect Robert George Boughey (RGB), the
chief architect of LBG (East Pakistan, from 1961 to 1964) (Hoskin, 1993) was well embedded in the context
and maintained consistency in architectural vocabulary, technical excellence, and aesthetics while
designing ( Islam & Miah, 2003); Wares, 1984; Nilufar, 2007). With a mainstream modernist training
(Hoskin, 1993), how he introduced such architectural vocabulary in his early stage of career, strikes in mind
while visiting his works in Bangladesh. Unfortunately, many of his contributions are unidentified, less
acknowledged, have never got the publicity and often recognized as someone else’s work. No research and
documentation have been done except some discrete write-up along with the other foreign architects’ work
in Bangladesh. How Boughey’s fundamental and adaptive design thoughts responded to the warm humid
subtropical climatic context, culture and regional identity in terms of physical and spatial attributes has
been identified as a topic of research.

1.2 Aim and Objectives

Specific Aim: This research aims to analyze and synthesize the works of Architect Boughey in the context
of Bangladesh, a country located in the subtropical climatic context sharing the socio-cultural history of the
Indian Subcontinent.
Objectives:

 To proceed through a thorough investigation in the background to determine architect Boughey’s

position in the history of modern architecture in Bangladesh.
 To understand his core principles of his modernist architectural designing through analyzing the
examples present in Bangladesh.
 To understand and analyze how the architectural features of his projects evolved as a reflection of his
deep understanding of the region in terms of climate and society.

Possible Outcome
Firstly, this study is expected to produce a foundation of knowledge on the works and philosophy of
architect Boughey in the context of Bangladesh which will contribute to the field of architectural education.
Secondly, this study attempts to identify the generation process of building form and attributes with respect
to region, context, and climate in the work of a pioneering figure of Tropical Modernism.

16 |
1.3 Outline of Methodology:

The outline of the research methodology consists of a four-step process (Flow Chart 01) following three
primary research methods. The steps are the following:
Step 01: Literature Review
This has been conducted on secondary source published data (e.g., research papers, books, articles,
published interviews and websites):

 A thorough review has been done of archival literature to comprehend the diachronic and
synchronic movements and links in the architectural, political, and social arena to understand the
background and position of architect Boughey in the sixties.
 A study has been conducted to find out the formal architectural attributes of modernism, tropical
modernism, and critical regionalism.
 A systematic and comprehensive study has been done in archival literature to cognize the principles
of designing and contextual considerations in the local and international architecture of Boughey.
Step 02: Search for Evidence (Primary Source Survey)
a. Case study survey: A comprehensive survey and observation through sketching, measuring,
taking photographs, recording, and short noting of detailing have been conducted in the designed
buildings and complexes of Boughey in Bangladesh.
b. Collection of available drawings and documents: Available architectural drawings, photographs,
relevant literature of particular projects have been collected, reproduced and generalized in various
categories for analysis.
c. Interview with Boughey: A semi-structured interview has been conducted to have first-hand
information and authentic evidence.
d. Interview with the next generation local architects: A structured interview has been conducted
through conversations with the next generation architects to understand the significance of architect
Boughey’s contribution and the overall impact of Boughey’s works on them in the initial years of
their academic and professional life.

Step 03: Analysis of the Evolution of Physical and Spatial Attributes

This study is categorized broadly in the following way,
a. Identification of fundamental design attributes: Physical and spatial characteristics,
fundamental elements, the relationship among attributes, design attributes related to climatic
contextualization in the architectural works of Boughey in Bangladesh, have been identified and
categorized based on the basic structure of a recognized tool developed by the School of Design
North Carolina State University (Clark & Pause, 1979), where the physical attributes of a building
could be identified under certain basic architectural tenets (Clark & Pause, 1979) (Clark & Pause,
2005).

b. Analysis of identified design attributes: Identified fundamental design elements of the case
studies are analyzed and evaluated based on the points of “Critical Regionalism” by architectural

17 |
 theorist Kenneth Frampton (Frampton, 1987) and the “Regional Factors in the Tropics” by architect
Harry Seckel (Seckel, 1954) as primary evaluative criteria.
Step 04: Conclusion
This analysis is going to help in identifying the key factors that contributed to the evolution of physical and
spatial attributes as an adaptive design approach in his works considering regional identity, social
complexity, and climatic context. It is expected that this will lead us to establish him as one of the true
pioneers of Tropical Modernism as well as Critical Regionalism in the architectural history of Bangladesh.

1.4 Research Methodology

This thesis follows three primary research methods throughout the journey from introduction to the
conclusion; Interpretative Historical Research method, Case Studies and Correlational Research method
will be followed. Throughout the thesis, the Interpretative Historical Research method has been followed
thoroughly. However, to identify the design attributes in the works of architect Boughey, case study
methods and to derive the relationship between design attributes and basic architectural tenets/theories,
correlational research methods have been applied in some areas. The outline of methodology, the
composition of thesis chapters and their relationship with these three research methodologies have been
illustrated briefly in Plate 01. Short descriptions of the research methodologies are following.

1.4.1 Interpretative Historical Research (I.H.R): Interpretive Historical Research specifically is

defined as investigations into socio-physical phenomena within complex contexts, to explain those
phenomena in narrative form and a holistic fashion, when the phenomenon is a past condition
relative to the researcher (Groat & Wang, 2002).In this research, the researcher focuses on
collecting as much evidence as possible and logically arrange them to interpret the phenomenon.
This needs searching for evidence, collecting, identifying, or organizing, evaluating and
constructing a narrative explanation from the evidential collections which have to be realistic and
holistic.

1.4.1.1 Traits of Historical Research:

i. History research brings into view something from the past: As the “something from the past”
is not empirically easy to get, any history researcher has to utilize numerous tactics for revealing
evidence from a time and a context that is not contemporary to him or her (Groat & Wang, 2013).

ii. Interpretation: It defines that along with the evidence, the historian’s perspective is a significant
part of historical research and narration. It has both technical and theoretical parts, in which a
researcher must know where to find, what to find and how to arrange the evidence in an interpretive
framework.

iii. Narrative: This point is very significant, as it comprises explanations of what could have been
happened, this explanation must be rational, believable and robust.

iv. The Cultural Turn: This perspective anticipated that something like a single history of the world
can be outlined, by given sufficient indications. The cultural turn is a significant reaction against
this concept which was more visible in the 20th-century phenomena, the characteristic outline of

18 |
 cultural turn includes paying attention to gender issues, power, knowledge, the regime of truth,
active dialogue between anthropology and history (Eley, 2008).

1.4.1.2 Tactics of Interpretive Historical Research:

The tactics of this research include data or evidence collection, identification or organizing the evidence,
evaluation and finally a rational explanation or narration of the analysis (Groat & Wang, 2002); the narrative
must be localized in space and time. Identification, organization, and evaluation not necessarily have to
occur in a sequence, rather all these tactics are processes that run in parallel.

Evidences are categorized into four types (Groat & Wang, 2002). They are following,

i. Determinative Evidence: These evidences are related to time and space. Evidence that contains
dates like letters, lists, notes, photographs, calendars, etc. provides scopes to a researcher to have
clues about the time of occurrence.
ii. Contextual Evidence: These evidences are concerned about the built environment and are often
utilized to locate the item of the inquest in context. Buildings, interiors or other spatial contents are
categorized here.
iii. Inferential Evidence: Sometimes, with the closeness of date, by rational interpretation or by
logical inferences, one proposition is posited as very likely to be linked with another proposition,
though strict connections may not be visible. Photographs, linked letters, bills, etc. could be
considered as examples of this typology.
iv. Recollected Evidence: Interview is a good source of evidence that could be utilized in recalling
any event. Interview in interpretative historical research focuses on memories rather than the
current reactions to things. It is inferential by nature, here the researcher act as an interviewer to
recollect information about the past from the interviewee, then organizes them and finally interprets
the phenomena.

1.4.2 Case Study:

Case study researches are generally followed to identify a cause and effect in a specific case, location or
context (Yin, 1984). Here in this thesis, the strategies of case studies have been followed to a limited extent
in the buildings designed by architect Boughey. This approach excludes users’ participation and focuses
only on the dead elements or attributes of the buildings.

1.4.3 Correlational Research (CO. R): Correlational Research aims to clarify patterns of
relationships between two or more variables or factors involved in the circumstances or
phenomena. The general characteristics of this research include, A focus on naturally occurring
patterns, the measurements of specific variables and the use of statistics to clarify the pattern of
relationships. The tactics of correlational research include Collecting Data, Reading about and
Understanding Multivariate Analyses. A variety of data collection and analyses technique are
followed and used in this research. Collecting data follows the steps of surveys, observation,
mapping, sorting, and archives.

19 |
1.5 Composition of the Thesis:

This thesis is composed of six chapters. Chapter 01 consists of an introduction explaining the background,
problem statements, aim, and objectives, outline of methodology and composition of the thesis. Chapter 02
explains the diachronic and synchronic history of the foreign campaign in underdeveloped orient and its
influence in the socio-cultural context. This chapter also discusses the position of architect Robert Boughey
in the architectural history of Bangladesh. Chapter 03 is comprised of studying more detailed information
about the background, comprehensive philosophy and design principles of architect Boughey to have a
basic understanding of his perception of architecture. Chapter 04 contains detail explanations of the works
of Architect Boughey in Bangladesh as case studies, this chapter is completely based on field survey,
observation, primary resources, and conversation with resource persons. Chapter 05 focuses on identifying
physical and spatial attributes in the surveyed case studies or works of architect Boughey by a recognized
tool. The last chapter, Chapter 06 consists of the interpretation of Robert G. Boughey’s works in terms of
relevant architectural theories and a conclusive discussion.

As mentioned previously, combined strategies of multiple methods have been followed in this research.
Tactics of Interpretative Historical Research has been followed throughout the research (Flow chart 2). The
evidences of Interpretative Historical Research for this research are as follows-

Categories of evidences in I.H.R Demonstrated in this research

Determinative Evidence Letters, notes, photographs related to Boughey and his works
Contextual Evidence Local works of Architect Boughey as case studies
Inferential Evidence Old photographs, letters, memoirs of the sixties to find out relationships and
understand the overall context and circumstances of that time of the practice
of architect Boughey
Recollected Evidence Interview of architect Boughey and Conversation with next-generation
local architects.
Table 1: Evidence of Historical Interpretative Research
(Prepared by Author)

The works of architect Boughey has been surveyed and observed thoroughly; they are described and
illustrated as Case Studies in chapter 04 and chapter 05.In terms of Correlational Research, an attempt has
been conducted to find out the pattern of relationship among design attributes and relevant architectural
theories through the Categorical Measurements and Use of Charts to Clarify Patterns of Relationship
(Groat & Wang, 2002) containing simple charts, diagrams, and illustrations. As the research focuses on
narrative analysis, Relationship Studies (Groat & Wang, 2002) typology is more suited in terms of
identifying tactics (surveys, observation, mapping, sorting, and archives). Surveys, observation and
searching in archives have already been taken under consideration in the first steps of Interpretative
Historical Research. So basically the tactics of correlational research are followed from mapping and sorting
based on previously collected data and evidence; it is elaborated in chapter 05 and chapter 06. The
composition of thesis chapters in relation to the research methodologies, tactics and strategy has been
illustrated step by step in Flow Chart 1, 2, 3 and collectively in Plate 1.

20 |
Plate 01: Framework and Methodology of the Research (Prepared by Author)

21 |
 Chapter 02: Foreign Campaign and Its Influence in Architecture
and Socio-Political Context of the Underdeveloped Orient

“In the process of "exporting" architectural knowledge overseas to the tropical Third
World, British architects in London and Third World architects unwittingly developed
a body of knowledge which was eventually subsumed into the global praxis of
Sustainable Architecture”- Vandana Baweja

Preamble
This Chapter is a part of the literature review. This chapter discusses the foreign campaign and its
influences in the socio-political context as well as in architecture in the underdeveloped orient. This
chapter is essential to understand the position of architect Boughey in the global history of architecture,
especially in oriental context. This chapter is mainly divided into two broader sections; the diachronic
history of the Indian Subcontinent discusses the foreign campaign and influences in this subcontinent
from ancient to post-colonial phase and the impact of the Cold War in the overall cultural and socio-
political context. This chronologically sequenced discussion ultimately will guide to identify the situation
in which foreign architects were hired and as a part of that Boughey came to East Pakistan. The second
section discusses the synchronic history of India and its surroundings during the post-World War II phase
to understand the historical consequences in a socio-cultural context. This chapter will lead us to
understand the impact of foreign influences during the post-partition phase especially in the field of
architecture in this region and how architect Boughey happened to work in this context as a part of this
collaboration. Each section here is linked up with the previous one to understand situations and
circumstances chronologically.

22 |
2.1 Diachronic History of Indian Subcontinent:

The term “Diachronic” is originated from two words; Dia (English) means through and Khronos (Greek)
means time; it is a way that is concerned with something that has evolved and developed through time.
Regarding diachronic history, here the main focus will be on the history of the Indian subcontinent with
emphasis on foreign campaigning in this region and how chronological developments have been influenced
by the foreign campaign, their culture and socio-economic context with the respect of time. The time frame
and phases have been denoted in brief in the following flowchart and under subtitles.

Pre-British Indian During Post British Indian Post-colonial Third

Subcontinent British Period Subcontinent world

The impact of Cold War on East The impact of Cold war on India and Pakistan as
Pakistan India and Pakistan Post-colonial third world country

Flow Chart 04: Diachronic History of Indian Subcontinent

(Prepared by Author)
2.1.1 Ancient to Pre-British Phase
Chronologically Indian History has seen cumulative alternating periods of schism and union in different
parts of the region. It is a version of a regular melee among the central core part of the basin of the Ganges
and its peripheral areas (Tayyeb, 1966).

Foreign migration believed to add other significant dimensions in the history of the Indian Subcontinent.
The milieu of multi-culture and multi-faith existence in this subcontinent is a result of the blending of native
and foreign influences. The first foreign campaign as recorded history is the migration of Aryans from
Central Asia. In Indian Subcontinent before Aryan migration, there was a significantly developed and
flourished civilization known as the Indus Valley Civilization (Violetti, 2018). This civilization grew
around what we call Pakistan and Northwest India now. The main dependent source that influenced the
growth of this civilization is the fertile land of the Indus River. Indus valley civilization had a societal status
similar to Sumerians and to some extent grander than the Babylonians and Egyptians. The primitive
evidence of religious practices, farming settlements and signs of urbanization dates back to approximately
5500 BCE, 4000 BCE, and 3000 BCE in order (Violetti, 2018).

By 1500-1800 BCE the Aryans voyaged into the Indian subcontinent (Figure 1). Anthropologist David W.
Anthony anticipated the Indo-Aryan Migration Theory and Archeologists Elena Kuzmina and J.P. Mallory
claim that the emergence of Indo-Aryan Language in this subcontinent is an outcome of the migration of
people of the Sinthasta Culture (Kuz'mina & Efimovna, 2007). This migration was prompted with the
invention of war chariot. The group of Nomadic cattle herders crossed the Hindu Kush Mountains and came
across the Indus Valley Civilization (Violetti, 2018). This is a momentous event in the history of the Indian
Subcontinent that changed and played a major role in the mixed-culture attribute of the Indian Subcontinent.

Another notable ancient foreign campaign was the advent of Greeks in the Indian subcontinent. Many
cultural and religious evolution in India which were the results of the Indo-Greek relationship (Shumaila
Firdos, 2017). Although we often hear the history of Greek influence on India is associated with the invasion
of Alexander the Great; the historical accounts show the arrival of Greeks in the Indian Subcontinent was
long before the approach of Alexander; it dates back from the 5th century BCE to 6th Century CE.

23 |
 Figure 1: Indo Aryan Migration towards India
Source: The history of India, https://sites.google.com/site/globalstudiesindiaunit/home/2-the-aryan-invasion

They envisioned to discover scholars and knowledgeable people in the areas of philosophy, marine trade,
diplomacy, administration, art and architecture, and kingdom control (Tarn, 1902). Greeks were strange to
the land of India unlike British rulers, they intended to acclimatize Indian culture and climate. Their
influence was obvious in the religions of India, especially in Buddhism. The Greeks contribution in the
arena of Indian cultural Heritage and intellect came with the forms of introducing industrial terms and
techniques, progress of Astronomy, and establishing the great school of Gandhara sculpture (Figure 2),
which has a significant impact in every corners not only in India but also in the whole subcontinent
(Shumaila Firdos, 2017). The campaign to conquer India by Alexander the Great began in 326 BCE; this
march towards the Indian Subcontinent. The main idea of this campaign was believed to be Alexander’s
long-cherished aspiration to conquer the whole known world and the Greeks imagined India to be located
at the end (Sanujit 2011).
Subsequently crossing the river Indus he voyaged towards Taxila. The king of Taxila, Porus was challenged
by Alexander between the rivers Jhelum and Chenab. In spite of having a strong team even comprised of
trained elephants, which was an uncommon type of attack for the Macedonians, the Indians were crushed
in the severe combat. Alexander apprehended Porus, but he was mesmerized with his leadership quality
and war front arrangements he decided to allow Porus to continue leading his territory.

It can be observed that enormous historical attention to Alexander has covered the impact of former Greek
advents in India. It was identified that when Alexander attacked India through passing the Hindu Kush, he
came to know freshly about Greeks' advent in Bactria and they overlooked the fertile valley of Indus. It was
unknown to Alexander that the Bactria Greeks reigned in the parts of India (Shumaila Firdos, 2017).

The statement of the Greek invasion long before Alexander is verified through ancient Greek and Sanskrit
Literature. Sanskrit literature proposes these people as tough combatants and familiar with the knowledge
of science that was unfamiliar to native people (Benerjee, 1920). The influence of Greeks in Indian culture
and knowledge is deep that it was fresh more than two millenniums. Throughout the rule of Greek Bactrians

24 |
in India, a joint exchange of expertise happened that profited India with Greek proficiency in sculpture
making. Gandhara School of sculpture served as the founding institute in this respect. Correspondingly,
Indian astronomy fascinated the Greeks sufficiently to originate Zodiac sign. These clues can be achieved
from classical Indian literature of Mahabharta and Yuga Purana (Hussain, 1963).The classical Indian
literature including Yuga Purana, Mahabharata, and Buddhist literature offer historical descriptions of Indo
Greek contact in ancient times. Greeks were called “Yavanas” by the native people and it was later
identified in the Astronomy book name “Gargi Samhita” (Mitchiner, 1986).

Figure 2:Gandhara Buddha, Source: The history of the world (Left)

Figure 3: Alexander’s defeated invasion of India (Middle),
Figure 4: Greek Influence on Indian Mythology (Right)
Source: www.google.com

With this foreign campaigning of Greeks in India for the first time, the Indian Subcontinent interacted with
the western influence of classical civilization (Chowdhury, 1999) (Ahmed & Sanday, Buildings of the
British Raj, 1986).

In assessing the influence of Islam on the sub-continent, one must remember that the Indian Subcontinent
was a repeated target of invaders from Persia and Central Asia who came from the North West. With the
collapse of the Sassanids and the advent of the Caliphate's ascendency of the region, these communities
instigated to challenge with the new power and were successively combined to increase Muslim dynasties
usually the Afghans and Turkic.Unlike the previous invasion, the Muslim victors reserved their Islamic
individuality and shaped new law and managerial systems that faced and crossed confidently the prevailing
systems of social connections and ethics.
The first invasion by the new Muslim successor states of the Persian Empire happened around 664 CE
during the Umayyad Caliphate, led by Mohalib towards Multan in Southern Punjab, in modern-day
Pakistan. Throughout the advent of rulers from Ghaznavid empire, Ghurid Empire, Delhi Sultanate, Deccan
Sultanate, and Mughal Empire (Map 1), this subcontinent became enriched with the expansion of trade such
as by abolishing taxes by Sher Shah Suri to encourage free trade, spread of technology like importing water
wheels for irrigation and ceramic tiles in construction inspired by the architectural tradition in Iraq, Iran
and Central Asia and cultural progression in the field of language, dress, cuisine, all the art forms,
architecture, and urban design, and social customs and values. Use of ceramic tiles (Figure 5), potteries,
bookbinding, paper making, wood carving, brassware making, carpet weaving (Figure 6), printing, textile,
and jewelries; all of this crafting quality works were either grew under the supervision of Muslim artisans
or gather sufficient inspiration from them to make and adapt with a localized version.
Even The languages carried by Islam were reformed by communication with indigenous languages
progressing to the conception of numerous new languages such as Urdu, which uses the revised Arabic

25 |
lettering, having more Persian words. Islamic and Mughal architecture is so profound that many of them
symbolize India like the Taj Mahal, Jama Masjid or the Qutub Miner ( Figure 7 and Figure 8).
The foreign Influence of Aryans, Greeks, and Muslims, contributed a large determining and shaping the
cultural identity, administrative arrangement and social structure of this sub-continent. Except for the
British, others settled down and tried to flourish with the native people, their culture, values, and customs,
adjusting to the social and climatic context over a subsequent period of time.

Figure 5: Pietra Dura

Figure 6:Mughal Carpet
Figure 7: Qutub Minar in 1860
Figure 8: The Taj Mahal
Source: www.google.com

2.1.2 British Colonial Phase:

The decline of Muslim reign in India was prompted with two external forces since seventeenth century, one
was the rise of the Maratha power in Deccan and the other more prominent foreign advent of western power
governed by the Portuguese, British, French and the Dutch, who primarily came to flourish trade and
commerce but over time they rule the country by economic chains and by the sword (Ahmed & Sanday,
Buildings of the British Raj, 1986) (Map 02).
Among the foreign rulers, the British have maximum territorial coverage; from the late nineteenth century,
they expedite their power involving process and acquired control over India. There are some dilemmas
about the approach towards India whether it was a premeditated design or happened through accident or by
circumstances. Basically at first British has only an interest in trading, but as time went by they were more
and more involved with internal politics. Soon they were associated with the native power structure and
that led them to conquer large territories and setting up their empire over the vast land of the Indian
subcontinent (Tayyeb, 1966).
The main difference between the other rulers and the British was that the British never wanted to be a part
of India like they did with other colonies like Canada, Australia, and New Zealand. They preferred to remain
superior foreigners in every social, political and cultural aspect (Figure. 09). As Sir Thomas Monroe stated
“Foreign conquerors (of India) have treated the natives with violence, and often with great cruelty, but
none has treated them with so much scorn as we (British) did; none has stigmatized the whole people as
unworthy of trust, as incapable of honesty, and fit to be employed only where we cannot do without them”
(Parkin India Today)

26 |
Latterly the British attitude changed considerably with the natives bypassing of years, but the impressions
of threshold years were not elapsed by the locals and became nonstop trace in the political chaos and the
nationalist struggle that surveyed (Tayyeb, 1966).
British has some significant impact over the political, social, economic as well cultural aspect. At the time
of British rule, India went through the terms of modernization with the ideas of liberty, equality, human
rights, science, and technology. Some visionary Indians Raja Ram Mohan Roy, Aruna Asif Ali, Pandita
Ramabai gathered sufficient momentum to fight against the social inequality and strived for liberty,
fraternity and fought to improve the social status of women (Anand, 2012).
The British reign contributed significantly to transport and communication. The elaborate networking of
railways throughout India was pioneered by the British rulers (Figure 10, 11). This railway contributed to
trade and commerce by carrying raw goods, materials, and products to markets, ports, and users. The first
railway association was established by the British (Singh, 2016). Another substantial impact of British reign
is to assist India to achieve unification among her states. There were lacking among the power relation
between different states and at the end of colonialism all these states together collaborated and resided
under a broad title of lands, India. The post rebellion period observed the success and growth of the
administrative system (Ferguson, 2003)
The formation of the British Empire in the 18th century set the basis for modern India’s contact with the
West. Westernization influenced through a drastic transformation of creative perception a style appeared
that introduced traditional artists to new fashions and demands. As a whole, the European initiation was
sealed by a comparative thoughtlessness to intrinsic art ethnicities; earlier Indian supporters of art became
underprivileged and less dominant, whereas Western art became more pervasive as the British Empire
founded schools of art in major cities like they established the Bombay Art Society in 1888 (Mukherhi and
Jones, 1968).
On the other hand, the synthesis of local traditions with European style then turns out to be obvious in
architectural styles; Indo-Saracenic style is the outcome of the amalgamation of the cultures of British and
Indian styles (Sheeba, T., & Dhas, 2018). Where different types of attributes from Mughal architecture like
domes, arches, minarets, kiosks and Hindu temple architecture like exclusive ornamentations, cornices,
brackets amalgamated with the colonial building attributes like pilasters, classic columns, porches.

2.1.3 Indian Subcontinent in Post British phase

From 1930 to 1950, the years are significant for political turbulence and change not only in Asia in the
whole world where many parts achieved their political liberty from European subjugation. Before the 1930s
more than two-thirds of the territory and peoples of Asia were under direct European control. In Post British
Indian Subcontinent the rebellion was directed, lead and guided by a significant small educated middle
class that dedicated itself to one of the hardest tasks of synthesizing grievances in the economic, social, and
political and some other fields into an ultimate campaign for independence from foreign reign. The
hesitancy or resistance from the foreign policy and ruling to agree to the nationalist demands only
heightened the struggle and polished the willpower of the particular peoples (Tayyeb, 1966).
The first such scope was created to exaggerate this context by the First World War when the freedom
movement in India gained much momentum to keep the struggle and it continued even after the war ended.
Until the Second World War, this struggle continued. Firstly this new war weakened the European rulers,
they were trying to sustain for their survival and secondly this phenomenon gave rise to the native
nationalism and give those nationalists opportunities to enhance their political pressure on respective
European powers to pursue greater political concessions (Tayyeb, 1966). As India was a large country

27 |
inhabited by several multi-cultural, multi-religious, multi-faith and multi-lingual peoples, with the
competing political and economic growth the cohesion between different interests and groups started to
decline over time (Tayyeb, 1966). This continuous struggle among groups influenced foreign rule
declination and left the sub-continent thriving with individual political identity and units. Ultimately the
central part of India clustered became independent and formed Bharat and the marginal east and west
northern plains was formed as a separate state Pakistan (Tayyeb, 1966) (Figure 12).

Map 1: Mughal Empire Map 02: Trade routes worldwide in 1677

Source: Wikipedia Source: www.reddit.com

Figure 9: Treating foreigners (Visualization of colonialism) (Left)

Source: Our House, In The Wake Of The Raj Our Life In Dacca 1960-1967, page 75
Figure: 10Indian Railway in British Period (Middle)
Figure 11: Tanna Railway Viaduct (Right)
Source: A short History of Indian Railways by R.B Aklekar and Wikipedia

Figure 12:India Pakistan Partition in 1947

Source: www.asiasentinel.com

28 |
2.1.4 Cold War and Post-Colonial Third World
Following the starting of the termination of the British Empire and emergence of a new ‘world order’ of
developed and underdeveloped countries shaped by the Cold war politics, development extended crossing
British imperial territory. Internationally this development progressed under the financial support of the
United States and new development agencies, such as the World Bank, the International Monetary Fund,
and the several United Nations development organizations (Lu, 2011).
We often hear about the term “Third World”, however, is it a sequential term that comes in order after the
first and second? The ‘Third World’ is not a geographical expression, rather it has a link with economic
development. This word is used to describe those nations of the world that are commonly deliberated to be
economically underdeveloped, compared with the nations with presumed First and Second World. The
Second or First world countries are also termed as “the West” or the “Developed World”. It came into being
in the context of the “Cold War” as a global definer of resistance and difference. The geo-politics of world
were often explained as a notion of two Worlds Theory in the 1950s (Dinner 2007). When the Cold War
conflict between USA and USSR was rising; being divided up with two political perspective one is
Capitalist world and the other is Communist world, each of them was competing for acceptability and
authority in the post-war and post-colonial world. To initiate the concept of polarization in favor of either
communist or capitalist world several nations met at a conference on April 18-24, 1955 in Bandung,
Indonesia; there and then they anticipated and proposed the emergence of the third alternative against bi-
polar choices of two world theories. This third alternative ignited and pave the way for the term and concept
of “Third World” (Lu, 2011)

2.1.5 Impact of Cold war on India and Pakistan

As previously mentioned the First World War and Second World War has a significant role in the fall of
the British Empire in the Indian subcontinent; in 1947, India and Pakistan became two distinct countries
who have to polarize with the two most powerful and rival nations, U.S.A and the U.S.S.R. As a power
struggle for the world, supremacy became primarily an inter-continental struggle between the USA and
Soviet Russia, any Russian plans to expand on the western flank were stemmed by the U.S.A with the
formation of a military bloc, the North Atlantic Treaty Organization (NATO).
Indo-Russian relations denote the mutual political understanding between India and Russia. India and
the Soviet Union (USSR) had robust tactical, martial, fiscal and diplomatic relations during the time of the
Cold War. After the breakdown of the USSR, Russia continued its close relationship with India. This
resulted in India and Russia share a special relationship (Kremlin.ru, 2016).
The strategic location of West Pakistan (Map 03, Map 04), lies this new country in the sociopolitical conflict
of the Cold War world. West Pakistan lies in the middle of Crush zone or Rimland which extends from
Finland in the North West of the Heartland power to Manchuria in the north-east; also lies in the junction
of the Russian, Chinese and Indian spheres of India. All these points were well enough for alliance in
between U.S.A and Pakistan. US’s mania of installing its ‘soft power’ (Karim F., 2016; Nye, 1990) in the
emerging third world came as a media of friendliness and cajolement. Technical Education and Expert
Enhance Programs were the only means believed by the foreign policymakers and local bureaucrats to
support and aid in eradicating poverty as well as the scope of a coalition with Soviet Communism and to
rescue ‘Third World’; this concept of the alliance was well known as a Theory of Modernization (Gilman,
2003).
Although Pakistan won its independence, the US observed very slow or no progress in technical
advancement where Pakistan’s self-proclaimed rival India moved far away from the crippled condition of
the colonial phase and in this phenomenon the support from Soviet Russia acts as a significant influence.

29 |
For the significant geographical location, Pakistan turns out to be the most beneficial in the respect of grant
receiving from the non-European countries (Although the UK helped to get the support in post-world war
phase) and US government (Karim F. , 2016). Here in South Asia the support and assistance from the U.S
were proved to be more for moral support for long-colonized crippled nations rather than mere financial
assistance (Karim F. S., 2010).

Map 03: Pakistan in relation to foreign power Map 04: Pakistan’s Strategic Location
Source: Pakistan a Political Geography Source: Pakistan a Political Geography

Although a substantial amount of grants were given to Pakistan to revitalize and regrow, the development
rate was slow (The socio-economic conditions in the eye of a foreigner can be perceived through a letter
which was prepared by Mary Frances Dunham, wife of architect Dunham, Figure 14). Further, it was
identified by Ford Foundation, that the grants were used only for physical developments like constructing
dams, roads, plants; a skimpy share of total grants was spent in research-based development (Rich, 1951).
Ford Foundation was an American private foundation with the mission of advancing human welfare (Ford
Foundation, 1954). Later promoted the need for expansions of non-government grants helping in executing
ideal conditions for research, education, and expert enhancement programs within this recently decolonized
country with the scholarly aid from progressive society. Besides the grant from World Bank and USAID
(United States Agency for International Development) in the field of health, food, education and other basic
needs and consideration Ford Foundation specifically focused on establishing new educational institutions
and research facilities (Bell, 1971).
To execute the plans for new development in establishing a new premise for education and research
facilities, the Ford Foundation has no other ways but to hire several Euro-American architects to lead those
projects. Pakistan's government also commissioned a group of promising architects from the west from the

30 |
beginning of the 1950s till the end of the 1960s. In East Pakistan, Paul Rudolph, C. A. Doxiadis, Richard
Neutra, Daniel Dunham, Robert G. Boughey, Stanley Tigerman were the hired architects to make the dream
in reality. They were given the huge responsibility of designs that portray the first-hand architectural style
of a new nation.
The difficult part of the threshold of this physical and institutional development was the scarcity of local
trained architects and engineers. To ease this trouble, Louis Berger Group (LBG), a global behemoth
instituted by engineer Dr. Louis Berger in 1953 (LBG, 2019) was given the contract to start what was nearly
impossible for a newly born country. LBG engineers and architects were experts in constructing dams and
roads and have thorough working experience in the countries of Africa, the Middle East, Latin America,
and Asia (LBG, 2019). Their special focus was given in helping to restructure the post-conflict built form.
The motto of LBG differs from other construction and engineering firms that it believed in the concept and
success of building large scale infrastructural projects abiding local context, economic and cultural practice.
Two basic philosophy to be believed and maintained by Dr. Berger through his group, one is to adopt locally
available technology and persisting a perpetual stream to be followed by the local and to keep sustaining
them wherever necessary (LBG, 2019).
The Bhairab Barrage and irrigation project with a budget of $100,000,000 was a major undertaking for
Louis Berger Group (Islam R. , 2014). Concurrently, Berger won the feasibility study for irrigation and
crop study project in Sylhet valley. These large projects prompted Berger Consultants to open an office in
Dhaka to handle them locally. Berger Consultants formed a partnership with a local engineer and architect
Makbul Rahman and Asanullah Sheikh (Dunham & Dunham, 2014) (Figure 15). It would represent a
turning point in the history of architecture in East Pakistan as the first private firm to handle public sector
projects. To supervise and design these projects LBG hired Daniel C. Dunham, a Nebraska borne Harvard
graduate architect who served as the principal architect in LBG Dacca (now Dhaka) office till 1962
(Dunham & Dunham, 2014) (Islam R. , 2014). In 1962, the first Faculty of Architecture was established in
East Pakistan University of Engineering and Technology (EPUET) (now BUET) and Dunham was hired as
one of the founding faculty members (Islam R. , 2014). To fill up the position of the principal architect of
LBG Dacca office, Robert G. Boughey who was an architect in the same group, promoted to that position
and took over all the responsibilities regarding design and supervision of the projects. This topic will be
elaborated in section 2.2.5.

Figure 13: Foreign Architects in East Pakistan

Source: www.google.com except the photos of Bob Mayer and Robert G. Boughey

31 |
 Figure 14: Letter of M. F. Dunham about the Conditions in East Pakistan when Dunham and she arrived in the fall of 1960
Source: Our House, In The Wake Of The Raj Our Life In Dacca 1960-1967, page 09

Figure 15: Berger Office Team in Dhaka in the 60s

Source: Our House, In The Wake Of The Raj Our Life In Dacca 1960-1967, page 15

2.2 Synchronic History of India and Surroundings during Post WWII phase

The term Synchronic is originated from the Latin word “synchronous”, describes a way or something which
exists at one point in time. To understand the synchronic history, the ideas and discourses that were
happening or evolving parallel to the time from the early-50s to the mid-60s of the twentieth century will
be discussed elaborately. To elaborate and to link different discourses and phenomena, the discussion will
be started from the phase after the First World War, as this era is very crucial in terms of the threshold of
the decline of imperialism or colonialism and the rise of modernity.
Like the many other parts of Asia, in India nationalism emerged as a ‘byproduct’ of many sources of
discontent. As in India, a middle class educated nationalist group did the difficult task of cumulating all the
grievances in social, political, economic and other fields and all this helped to stimulate the urge for freedom
from foreign rules. With the emergence of the First World War, India gathered much momentum to sustain
the struggle and this struggle continued to the Second World War and this war has already weakened the

32 |
European rulers, where the rulers themselves were struggling for their survival. As a result, the world had
seen decolonization in different territories (Tayyeb, 1966).
Decolonization is the undoing of colonialism, the latter being the process whereby a nation establishes and
maintains its domination on overseas territories. But the decolonization was much affiliated with direct
political dominance or military control to subjugate other nations by imperial rulers but the cultural
influence or hegemony continued to be associated with the colonies. While the power control over Africa
and Asia was decreasing with the passage of time, the cultural influence on these areas was retained and in
architecture the influence rather increased (Hitchcock & Henry, 1977).
Modernization, modernism, and modernity are the three-term that has to be understood here to understand
the overall phenomena happening in the coexistence of physical decolonization and cultural hegemony
among the colonies and colonizer.
Modernization is a theory mainly advanced by US sociologists during the 1950s and 1960s. It argues that
to ensure the development of previously colonized and developing countries, repression of theological and
traditional values by politics is needed as well as the regular intervention of the First World through
technical and financial aids that must be made to sustain the long term development program (Joas and
Knobl, 2009).
Modernism was actively positioned as a way of civilizing the functions of the colonial city, considering the
colonies as a laboratory of modernity, expanding new arenas of health and hygiene which exemplified the
generosity of the West (Crinson, 2003). And architecture was seen as an asymmetrical intervention or
dialogue in between indigenous movements and international requirements (modernization) and impacts
(modernism) (Crinson, 2003).

2.2.1 Modernism and Modern Architecture around the world

Till the early twentieth century, most architectural schools followed the ideas and idioms of the Ecole des
Beaux-Arts, which deployed in the style and representation of antique classics. The concept of modernism
came with the ideas of using modern technology, exploring universality, embracing place and thinking
advance rather than backward. Modern architecture was evolved not as a new style rather as a way to
advance human habitation and to disconnect from irrational historical confinements; rooted in rationalist
technological advancement of the Industrial Revolution and challenged the functional arrangement and
construction method of vernacular architecture (Hochstim, 2004).
Skipping all the unnecessary ornamentation with logical elements and functional details while utilizing new
structural and construction methods brought on by the Industrial Revolution was the prime concern of
modern architecture. In 1914, Le Corbusier called a house “a machine for living”, to him a house should be
comfortable, efficient and affordable and could be easily erectable and sophisticated in its mass production
as machines like cars. With the concept of Dom-inno Maison (Figure 17) with concrete construction
independent of load-bearing shear walls, with freestanding columns, flexible interior spaces unrespectable
of exterior walls, flat slab, and respect for traditional material brought the concept of modernism in
residential architecture.
Eventually, Walter Gropius, a German architect initiated the Bauhaus school in Dessau (Figure 16), he
designed the school building and this building expresses all the modernist principles of expressing functions
and the use of new technologies. He designed a handful of buildings in America that portray logical
arrangements, spatial and visual simplicity, and enthusiasm for advanced technologies at the same time
respect for traditional materials. Mies Van Der Rohe who believed in minimal aesthetics took over the
directorship of Bauhaus before it was closed by the Nazis, he believed in “Less is more”, essential

33 |
architectural elements and avoidance of any sort of unnecessary detailing or ornamentations. His German
pavilion in World Exhibition in Barcelona in 1926 and Farnsworth House reflects those ideas.
Both Gropius and Mies left Germany for U.S.A in the 1930s and both of them began their career as teachers.
Gropius joined Harvard University’s School of Design and Mies joined Chicago’s Armor Institute, they
worked on the revival of American architectural modernism that had started with the idea of “Form follows
Function” of Louis H. Sullivan in Chicago at the turning of the nineteenth century. Sullivan’s famous
apprentice Frank Llyod Wright carried the concept of simplicity, rationality at the same time dynamicity
by juxtaposing vertical and horizontal planes. His concept of merging interior and exterior was known as
“broke the box”; Later Wright’s modernist ideas were forwarded by two Viennese architects Rudolph
Schindler and Richard Neutra as they started to work with Wright. Their fondness of working with steel
frames, glass and above all ignorance of exaggerated decorations continued to contribute to the idea of
modernism.

Figure 16: Bauhaus School (left)

Figure 17:Le Corbusier’s Dom Inno House(right)
Source: www.google.com
Times of political and social disturbances, principally economic ups and downs with ether dearth of
construction activity, offer architects the prospect to produce new notions and represent the future of
architecture. Those are the periods of reconsideration of past developments and investigation of theoretic
and technical revolutions expecting execution. Thus, during the Second World War, many streams of
thought were amalgamated into unified plans for the future. At the termination of the war, the United States
offered the most fertile soil for modern architecture. With the annihilation grieved by Europe and the poor
economic situations of so many countries worldwide, it was in America that modernism’s vision and unique
forms of modern architecture had the best chance to be accepted and acknowledged. (Rivas-Camp, 2003).

2.2.2 End of Imperialism and Birth of Neo-colonialism

Capital, labor, and governments in developed countries used intimidating methods to chase their economic
targets in underdeveloped countries (Alam, 1998). During that time these targets may be scrutinized beneath
three titles: trade-creation, intended in transforming underdeveloped countries to primary production;
factor-deployment, looking for production and control investment and hiring prospects in underdeveloped
countries; and rent-capture, or arrogation of prevailing and new types of rents in underdeveloped countries.
Achievement in chasing these targets relied on the amount of imperialist control practiced over social and
economic policies of underdeveloped countries. Industrialization is anticipated to be frailest in the colonies,
gradually become strong while stepping towards quasi-colonies, dependencies and autonomous countries.
As Mark Crinson said, “ In architecture, at least, modernism rises as imperialism fades- there must be
something more than coincidence in this” (Crinson, 2003). With the end of the Second World War, the
chronological weakening of European rulers resulted in the process of decolonization of several nations

34 |
and most importantly the cold war was developed after 1945 as a consequence of increasing tensions
between two great powers that emerged from World War II (Crinson, 2003).
Neocolonialism, the term which was first coined by Jean-Paul Sartre in 1956 and was chosen first by veteran
Politian and President of Ghana Kwame Nkrumah to state the political condition of African countries in the
1960s. Kwame Nkrumah assumed neocolonialism is an advance version of colonialism and is resulted in
using foreign capital for exploitation rather than for the development of the freshly decolonized and less
developed countries; any investment escalates rather than demoting the gap between wealthy and
underprivileged countries (Nkrumah, 1965).
Neocolonialism can be defined as, the exercise of using capitalism, universalization and cultural
colonialism to stimulate a developing country avoiding former colonial approaches of direct military control
(imperialism) or indirect political control (hegemony) (Sartre and Paul, 2001). Therefore, it can be stated
as the perpetuation of western interest and subjugation of the metropole over its/their former colonized
areas or nations. Western powers and their strategic interference mechanisms and perpetual domination
over the economic structure and interest of former colonies in the post-colonial phase (Babatola, 2014).
Although the concept behind neocolonialism was more or less similar in different colonies, the ways and
means were different.
In Africa, neocolonialism can be considered as an advanced stage of colonialism as it prevailed in the forms
of cultural, educational, industrial, economic and technological suppression of former metropolis
domination. Walter Rodney assessed the colonial economy and the arrival of neo-colonialism in Africa as
a result of economic suppression and underdevelopment of Africa after liberation and then declared in the
book ‘How Europe Underdeveloped Africa’, “It is for this reason that a formerly colonized nation has no
hope of developing until it breaks effectively with the vicious circle of dependence and exploitation...’
(Rodney, 1973)
Despite celebrating the physical handover of power from colonizer to colony, foreign power governed the
pattern of economic, political and social life. In the West Indies, even the name West Indies were adopted
from the metropole. The most powerful control from the colonizer over the colonized West Caribbean was
ideological cooptation. “Gramscian Hegemony”; taming the thinking process of the people, especially of
the reigning influential bodies, worked as the most prompt way of influencing their behavioral notions (
Girvan, 2012).
Neocolonialism predominantly targets the economic dependence of the freshly liberated countries on the
former colonizers. Differently Modern neocolonialism varies from conventional colonialism in that it
exclude direct political control, it is partially an intentional policy of developed nations to continue their
influence in developing countries (Ashcroft, Griffiths, & Tiffin, 1995). While allowing official liberation
to any freshly decolonized country, the previous colonizer twists from it a financial dependence which
converts into an aid and assistance program (Fanon, 1969).

35 |
2.2.3 Impact of Neo-Colonialism on Socio-Cultural Aspects of “Third World Countries”:
As mentioned previously Neo-Colonialism is the advance version of colonialism in the forms of cultural,
educational, industrial, economic and technological dominance of earlier possessors. The impact and
influences of neocolonialism in the field of architecture as a part of cultural aspects will be discussed here.

2.2.3.1 Modernism in the Tropics and Climate Responsive Architecture or Tropical Architecture as
a ‘Byproduct’ of Neo-colonialism and ‘Modernization Theory’:
Design in the Tropics or design considering tropical climate became an area of concentration just after the
starting of the end of empire, resulted as a consequence of the Second World War. In 1950s design in
tropics transferred from the discipline of hygiene, medicine to architecture and was reorganized as
Modernism for the tropics, the areas which were decolonizing or decolonized zones of British and French
Empires (Lu, 2011). Tropical Architecture developed through the interaction of European modernist
architects with colonial architectural cultures in the tropics, which were reconstituted as the Third World
after the Second World War (Lu, 2011).
Tropics are not only a physical climatic zone surrounded by tropics, rather a discursive construct and share
special similarities in terms of climate, culture, geography, anthropology, zoology or botany (Map 05).
David Arnold perceives Tropics in this way, “Foundational principles on which the discourse of Tropicality
rested was the notion in the tropics, and nature dominated all spheres of life and could not be controlled”
(Arnold, 1996). This orientalist concept demarcated the discipline of practices in medicine, hygiene and
then the field of architecture.
The practice of Tropical Architecture has its origins in the discipline of hygiene in the British and French
colonies, which constituted a significant portion of the climatic zone that we call the tropics. In the 1950s,
Tropical Architecture completely migrated from the discipline of hygiene to architecture and was recast as
Modernism for the tropics, which were largely the decolonizing and decolonized zones of the British and
French Empires. In its 1950s and 1960s incarnation, Tropical Architecture became a Modernist movement
that was based largely on the notion that Modern Architecture in the Third World tropics should be based
on climate responsive design. Architects practicing in the Third World tropics were aware that they could
use mechanical means of climate control, but the economic conditions in the Third World tropical countries
made mechanical conditioning unaffordable.
As Iain Jackson stated in his article that Tropical architecture emerged as a comprehensive knowledge after
the WWII, a type of adapted European architecture improved to cope with hot climates, and technically
standardized to suit the local context of specific countries located between the tropics of Cancer and
Capricon (Jackson I. , 2013). Whereas Mark Crinson argues that ‘tropical architecture’ is a metropolitan
phenomenon employing an imperial model of dissemination in the sense that its key nodal points were
architects, publishers, journals, conferences and architectural schools based in the metropolis’ (Crinson,
2003).
Existing postcolonial histories of modern architecture view Tropical Architecture as a colonial orientalist
construct and as a British neo-colonial project in the tropics at the end of the Empire (Crinson, 2003).
Environmental discourses construct Tropical Architecture as a value-neutral scientific climatic design
discourse (Cook, 1983). There are controversies about the emergence of Tropical Architecture like Fry and
Drew, British architects presented tropical architecture as a recent innovation, implying that all previous
building were either ‘instinctive’(Fry, 1977) or colonial (with little reference to climate), but Chang and
King’s contributions to the canon argue that this was not the case (Chaang & King, 2011). They aimed to

36 |
‘historicize tropical architecture’, and whilst acknowledging the ‘power-knowledge configuration,
inextricably linked to asymmetrical colonial power relations’, argue that there were ‘complex two-way
exchanges’, where the colonized were central in shaping colonial culture, in a form not derived from the
Metropolis. Giving rise to the claim that tropical architecture from this earlier period was an outcome of
‘transculturation’. As Vandana Baweja stated that Tropical Architecture was unquestionably an elaborative
paradigm to strengthen the colony-metropole affiliations at the end of the Empire, which developed as a
platform for the progress of climate-responsive design and practices that was aware of unnecessary energy
and resource consumption (Lu, 2011).

Map 05: The Tropical Region

Source: Fry and Drew’s 1947 book Village Housing in the Tropics.

Names that must be mentioned while talking about tropical architecture or climate-responsive architecture
are Edwin Maxwell Fry, Jane Drew, George Atkinson, Otto Koenisberger, Smithson brothers, etc.
Maxwell Fry and Jane drew, British Architect couple practicing in full-fledged in their country till the
Second World War broke out (Figure 18 and 19). Fry was reputed as a key figure in the development of the
British Modern Movement and also a partner of modernist Walter Gropius working with concrete, white
geometry. Although having beaux art training Fry later practiced modern vocabularies in his building.
Soon after shutting their office due to Second World War, they were given some opportunities or challenges
to work in the colonial regime of Africa as a town planner and they designed schools, colleges, universities,
and several other projects as a result of Development and Welfare Acts (Jackson & Holland, 2014).
Although they were given instructions or design decisions, they did not hesitate from challenging those
decisions and were sympathetic to the local population, their tradition, culture and way of living (Jackson
& Holland, 2014). Their concern concentrate on the issues related to sanitation, hygiene, moral, streets and
open spaces. They were sent to India and they stayed from 1951 to 1954, were given the works of town
planning and housing.
In colonial settings Modern architecture was predicted to be represented as white geometric forms with
‘scientific’ climatic adjustments, which was in some way politically unbiased and not colonial (Crinson,

37 |
2003).Fry and Drew, in particular, have been regularly performed as spreaders of this method, and through
their designs, they emerged as representatives of the late colonial policy of Britain (Jackson & Holland,
2014). Fry and Drew wrote a book in 1947 with their model building solutions and experiments practiced
in Africa, this book became a small guide about designing in the Tropics. This publication was a cumulative
collection of practical knowledge which was a colonial enterprise, as it was set to be used in colonies while
designing. This publication was considered as a part of Colonial enterprise to ensure the commission of
British architects, engineers and other consultants as custodians of expertise that came as Development and
Welfare rather than military influence (Jackson & Holland, 2014). This concept is coherent with the idea
of neocolonialism and modernization theory.
So, the book by Fry and Drew produced a system of building in the tropics, grounded on combining
preceding knowledge precisely and concisely presented in this trim tome which eventually became
orthodoxy for building in hot tropical climates (Jackson & Holland, 2014). This was a remarkable turning
point in the history of climate-responsive architecture or tropical architecture.
During the 1950s to 1960s, climate responsive design was central to the third world practice of Tropical
Architecture, but initially, the British post-war and North American architects were reluctant to this. In
1949 English architect partners Peter and Alison Smithson were very critical against climate responsive
design, but their experience of working with Koenisberger and the influence of AA School Tropical
Architecture discourses and practice, they were motivated to practice climate sensitivity while designing.
Otto Koenisberger, a German architect, in 1939 was offered a job in India as the chief architect of the Public
Works Department (PWD) in Mysore (Karnataka), India; from 1948-1951 he developed different housing
schemes for refugees after partition in 1947 (Figure 20 and 21), but these attempts were not so successful.
But his passion for climate-responsive architecture did not go in vain rather he returned to the United
Kingdom and established the Department of Tropical Architecture in AA school in 1954, it was one of the
remarkable events in the history of Tropical architecture. In 1954, the AA School of Architecture in London
became the first school of architecture to establish a department dedicated to Tropical Architecture. In the
1950s and 1960s, as most of the former colonial tropics were reconstituted as the "Third World," Tropical
Architecture flourished as a climate-responsive design movement in the Third World along with the
networks of the British Empire. Koenisberger published many of the treatises and his book Manual of
Tropical Housing and Building is mostly studied in the ‘Third World’ countries.
British architects, Gardner-Medwin, who worked in the British West Indies during the 1940s, can be
considered as an agent of Empire; they were certainly influenced by the local materials and techniques, as
well as by the colonial verandahs and screens, and as such we can say that transculturation took place
(Jackson I. , 2013) (Figure 22 and 23). None of these architects had worked in the tropics before, and
although they conducted surveys and adopted scientific analysis, they were not attempting to construct a
‘new beginning’; rather their starting point was the architecture they encountered on the islands. They were
initially working in the late Colonial era before the term ‘tropical architecture’ had been absorbed into the
Modernism of the Metropolis, but their work would continue throughout the sporadic transitions into post-
colonialism, and they remained at the core of a network that would permeate other tropical regions through
the extant colonial machinery (Jackson I. , 2013).
In the West Indies, lack of comfort was considered to be directly linked with hygiene and health issues.
Even there were instructions to keep doors and windows open to reinforce cross ventilation for physical
and thermal comfort and also to avoid disease attack as it was thought that diseases could be contracted
through bad air of marsh Miasma. By 1851, jalousie had become a part of the “Orders and Regulations of
the Corps of Royal Engineers” (Chaang & King, 2011).

38 |
The time from the 1950s to 1960s was the growing period of Tropical Architecture as knowledge, practice,
and discourse in the field of architectural education and practice. The students and graduates of the
Department of Tropical Architecture, AA school carried the concepts of climate-sensitive design techniques
in different forms although the Tropical Department closed at the AA in 1971 (Lu, 2011).
In the early 1970s, as Tropical Architecture began to diminish as a third world movement, soon it became
core environmental discourse and popular concern. Later, the concerns were represented as the terms we
often hear the solar, green and sustainable architecture, energy conservative architecture, passive design,
the Passive and low energy Architecture. Acknowledged architectural histories presented Tropical
Architecture as an export commodity that voyaged from the metropole to the tropics. Through this way of
"exporting" architectural knowledge delivered to the tropical Third World, both British architects, and Third
World architects unconsciously established an organization of knowledge which was ultimately
incorporated into the universal praxis of ‘Sustainable Architecture’ (Lu, 2011).

Figure 18:Maxwell Fry and Jane Drew in Chandigarh, India (Left)

Figure 19: Wesley Girls’ School, Cape Coast: Maxwell Fry in front of dormitory blocks (Middle)
Source: www.cca.qc.ca
Figure 20: Jawaharlal Nehru, Otto Koenigsberger, Amrit Kaur and unknown others visit the Housing Factory, 1950. (Right)
Source:https://scroll.in/magazine (Koenisberger Family)

Figure 21: Government Housing Factory with aerated concrete panels in the foreground, 1950. (Left)
Source: https://scroll.in/magazine
Figure 22: Gardner-Medwin and students surveying vernacular architecture in Africa (Middle)
Figure 23: Colonial housing in the ‘West Indies’, circa the 1770s (Right)
Source: Tropical Architecture and the West Indies, Courtesy of the University of Liverpool Special Collections and Archives

39 |
2.2.4 Employment of major foreign architects in the post-British colonial phase in Indian
Subcontinent:
The diversity in architectural tradition in the Indian subcontinent was as diverse as its cultural attributes
and traditional diversity. But the state of being exploited by the British Empire for more than a hundred and
fifty years left a state of vacuum in cultural and architectural memory in this subcontinent (Desai & Desai,
1968).
But the post partitioned nations need to be build up and developed and for these new premises are needed
to fulfill these desires. Independent India’s first Prime Minister Jawaharlal Nehru took the initiative to
rebuild (Figures 24 and 25). He was a great admirer of the achievements of modern civilization and his
prospective vision gives a fresh but doubtable impetus to the new nation. Borne and brought up in occidental
style it was not surprising of his inclination towards western ideas, he desired something new, giant and
remarkable and eventually it was followed by the hiring of European architect Le Corbusier to design new
cities in India. Many people liked the idea and many of them highly criticized, rather talked about the ideas
of recruiting local experts despite hiring from overseas. Otto Koesnisberger also came to India to design
housing projects for post-partition refugees. Although his designs did not get much appreciation the
knowledge he gathered about the climate and context inspired and pushed him to do something and finally
after his return he contributed in writing many treatises about the design manuals in a tropical climate and
founded the Department of Tropical Architecture in AA School. Louis I Kahn, the master architect was
approached by an admiring Indian architect, Bal Krishna Doshi to design the Indian Institute of
Management in Ahmedabad 1962 when he was designing the capitol complex in Dhaka, Bangladesh
(Figure 26).

Figure 24:Architect Le Corbusier with Jawaharlal Nehru (Left)

Figure 25:The Shodhan House by Architect Le Corbusier (Right)
Source: https://worldarchitecture.org
Figure 26: Kahn and associates in his office working on site model of National Parliament building, Dhaka
Source: Sherebanglanagar, Louis I. Kahn and the Making of a Capital Complex

Nepal, the mountainous country in the Indian subcontinent has a history of modern architecture that started
long around the 1950s with the exposure of the employment of several foreign architects (Shah, 2016). The
major architects hired who have significant contributions in building architectural ground in Nepal were
Robert Weise Carl Prushcha, David Dobereiner, Gotz Haagmueller, John Sanday and during 1970s Louis
I. Kahn and Kenzo Tange. Kenzo Tange was commissioned to design the master plan of Buddha’s
birthplace, Lumbini (Figure 27). Louis I. Kahn was hired to design the Family Planning Centre during the
70s funded by USAID (Shah, 2016). The architectural works for the last fifty to sixty years has inspired the
new and young architects although these architects have a background of modern architectural training but

40 |
the ways they adapted to design considering context and climate were remarkable to be followed even in
the current scenario (Shah, 2016).

Figure 27:: Lumbini International Institute by Kenzo Tange (Left),

Figure 28: New Market, Dhaka by Edward Hicks(Right)
Source: www.pinterest.com (Left)
Source: Facebook page of Dhaka 400 years (Right)

2.2.5 Foreign architects in East Pakistan and Employment of RGB as a foreign architect
Just after the partition of British India, based on nationalism the central part became Bharat and for the
Muslim nationalism, the eastern and western parts were jointly declared Pakistan, land of Muslims. East
Pakistan’s Muslims again remain under the administration of West Pakistan Muslims. Eventually, the
Bengalis of East Pakistan felt the urge to be freed from the supervision and this attempt triggered the
emergence of Bangladesh as an independent sovereign nation. Immediately after partition the ingenuity
and the originality in design were spurned in the architecture of East Pakistan (Hasan & Zahedul, 1968)
(Husain, 2007) ( Islam & Miah, 2003). During the British reign, many different building types were
provided by the army barracks, but there was no such evidence during the Pakistan period. That time, there
was acute scarcity of any foundation style that resembles Bengali nationalism. Due to the political
undulations, hardly any development in the cultural sector, particularly in architecture, could be found. The
long history of cultural uniqueness until the Mughal Period was extinct by the turning of British boundaries.
Slow or no progress was resulting due to the scarcity of local practice and formal training in the architectural
sector. Draftsmen, surveyors, and engineers from Indian Schools like Bombay J.J School of Art and some
institutes in Calcutta (now Kolkata) were involved in design and drawing. Then, Public Works
Development (PWD) was the main builder of the nation. Immediately after partition, two British architects
Edward Hicks and Ronald McConnel joined the Department of Communications and Irrigation under the
Government of East Pakistan. Edward Hicks worked on town planning and future land use pattern of Dhaka
city ( Islam & Miah, 2003). He identified Motijheel as a commercial area, Nawabpur as a shopping area,
Azimpur and Dhanmondi as residential areas. Several projects like Hotel Shahbagh (on the present site of
BSMMU), New Market (Figure 28), Azimpur Housing State, Rajarbagh Police Barrack were designed
under the direct supervision of him. In 1959 McConnel was promoted to the post of consulting architect
and town planner when Hicks was departing. Ultimately, Mcconnel became the chief architect and designed
many projects in his long stay of nineteen years till 1971. Holy Family Hospital, Viqarunnesa Girls School
and nine-storied secretariat are his significant projects. These projects were threshold in that context at the
same time with large scale too, but the true contextual flavor was missing and designs finally materialized
like the arrays of rooms without any contextual considerations, innovations and climatic deliberations (
Islam & Miah, 2003). There was some antique charm in the attributes of the buildings that were appreciated
by the people of the land as there was a scarcity of good architecture (Hasan & Zahedul, 1968). Spaces of

41 |
buildings were in maximum cases arranged against monotonous corridor and this type is followed
irrespective of the building function. Brick was the common building material having plastered and colored
on facades. The elevations were lifeless and leaden.
In the first half of the 50s, East Pakistan sees some Bengali nationalism through architectural expression.
In the occident, the eccentric ‘International Style’ had been bourgeoning since the twenties of the nineteenth
century. But the enticing intertwine of International style was totally absent and even not believed to be
practiced in East Pakistan till the mid-50s by the practicing architects due to the lethargy in cultural growing
due to colonial confinement. However, in the urge for a language of local architecture to present the national
identity, International Style was expressed in brick evolving as a ‘Bengali style’ of Architecture (Azim,
1991). This style could perhaps be identified firstly in the two significant architecture of pioneer Bengali
Architect Muzharul Islam, one is the Art college in 1953 (presently Faculty of Fine Art, Dhaka University)
and Public Library Building in 1955 (presently Central Library building, Dhaka University) (Figure 29).

Figure 29:Faculty of Fine Art, Dhaka University (left) and Central Library building, Dhaka University (right)
Source: www.google.com
Architect Muzharul Islam, a graduate of Bachelor of Science and Bachelor of Engineering was inspired by
the art of architecture and went to study architecture in the USA with a post-war development scholarship.
There he completed his Bachelor in Architecture degree and returned to his native land to serve
professionally. He is a prime figure in the architectural history of Bangladesh for his uncountable
contributions. He served as the senior architect in the government of East Pakistan from 1958 to 1964 and
directly involved in designing several significant government projects. The influence of modern architect
Le Corbusier is apparent in the designs of Muzharul Islam of his initial phase of practicing (Ullah, 1997).
Cubic form, open ground floor plan, fee columns, non-load bearing partition walls, sun breakers, louvers,
concrete structures were the basic modernist attributes of his building of early years. The Art college
building and Central library building of Dhaka University represent the first few examples of the threshold
of modern architecture designed by a local architect.
There is only similarities between West and East Pakistan was the religion. Authority identified the idea of
using architectural vocabulary to tie two culturally opposite nations. As a result of impersonalized and
faceless patterned of buildings with so-called Islamic architectural features like arches, domes emerged.
Gulistan Cinema hall, Dhaka Improvement Trust Building, Banga Bhaban could be taken as examples.
Eventually, the authority requirements and architectural forms seemed like a renewal of Islamic Style by
the worthless copying of outdated forms with incongruous material (Husain, 2007). That time an architect
from West Pakistan Architect Thariani designed several projects during the 60s which are significant and
worth mentioning. Dhaka Improvement Trust Building (DIT) was designed by him and this building was
used to be the city’s landmark. He designed several buildings for the client Adamjee, a no-Bengali
businessman and industrialist group (Figure 30). Adamjee established Adamjee Jute Mills and hired

42 |
Thariani and Sons of Karachi to design the master plan. This design gave a break to the Thariany Group
and later they were assigned several large projects of industrialists like Bengal Steelworks, Bangladesh
Oxygen, Phyze Pharmaceuticals, etc. Moreover, Thariani and Sons designed some noteworthy buildings.
Baitul Mukarram National Mosque (1960-65) (Figure 31, 32), new High court Buildings, the Government
House and the Victoria memorial park, etc; they were intended in a style inaccurately labeled as “Islamic”
or, even portrayed “Symbolic Islamic” architecture in the High Court Building. During this time, the
nation’s architecture was facing difficulties of identity crisis although several attempts to fix this problem
were going on differently by architect Muzhaul Islam.
One of the most confrontational diverse architects of the twentieth century, Constantinos A. Doxiadis was
invited to Pakistan by the Ford Foundation in 1958 to design a large-scale education improvement program
(Karim F. , 2016).

Figure 30:DIT Building (Left)

Figure 31:Baitul Mukarram National Mosque(Middle)
Source (above two photos): www.google.com
Figure 32: Bird’s-eye view of the Academy for Village Development, Comilla (Right)
Source: (Karim F. , 2016)

Figure 33: Dhaka office of Louis Berger in 1961

Figure 34: Employees of LBG Dhaka Office, Dacca 1965 Photo Credit: Daniel Dunham, collected from Rafique Islam
Source: Our Days, In The Wake Of The Raj Our Life In Dacca 1960-1967, page 08

With financial aid from the Ford Foundation, Pakistan’s central government-appointed Doxiadis
Associates’ (DA) to start an aspiring project—with a notion and introduction of a new education system
for the whole country that was anticipated to motivate an entire generation. The students were expected to
be taught on technical institutes and ultimately would make a quick change towards a postcolonial
development. Design and supervision of the new complexes for the university and teachers training
institutes both in West and East Pakistan and to lay out a master plan for the overall development of primary
and secondary education were given to DA (Karim F. , 2016) (Figure 33).

43 |
While East Pakistan was thriving for an architectural identity, several saviors came to this land as foreign
architects and tried to identify and set definitions to local architecture with actual knowledge and apposite
professional training.
Although their hiring is often talked about, there is no objection to express that they have contributed in
developing a style and giving an identity to the architectural field of the sixties in Bangladesh (then East
Pakistan) (Husain, 2007). Louis Berger Group, founded by Dr. Louis Berger in 1953 began to serve in
engineering and construction in a different part of the World. As Dr. Berger envisioned “Every kind of
engineering service in every corner of the world” (LBG, 2019). During the sixties with the growing conflict
of Cold war and geopolitical power and independence of many colonies at the same time triggered the need
for development of basic infrastructural systems and institutional premises. In 1959 Louis Berger undertook
the first assignment to assist in the restoration of 700 kilometers Rangoon-Mandalay Road in Burma
(presently Myanmar).
This development works tend to flourish in Nigeria, Bangladesh, Brazil, Thailand, and Indonesia during
the sixties. In 1961 Louis Berger Group established its local office in Dhaka (Islam R. , 2014) (Figure 34,
35). It would represent a turning point in the history of architecture in East Pakistan as the first private firm
to handle public sector projects serving up to 1967. To design and supervise the projects, American
Architect Daniel C. Dunham was hired. He came with his family and began to start a new journey in a new
context. To fulfill the growing demand of architects in a different field, an urge was felt to train local experts
(Islam R. , 2014). With the assistance of International Cooperation Administration, USAID and Technical
Assistance from Texas A&M University the First Faculty of Architecture was established in 1962 by the
leadership of Professor Richard E. Vrooman. Immediately, the chief architect of LBG, Daniel C. Dunham
was hired as a faculty member in the faculty of architecture to assist professor Vrooman in training students
(Islam R. , 2014) (Figure 36, 37 and 38). So a vacancy was created in the post of the chief architect in the
LBG Dhaka office. Robert G. Boughey who has been working in the LBG Dhaka office since September
1961, was considered by Architect Dunham to be the most eligible for the post and with the consent of Dr.
Louis Berger architect Boughey was promoted to the post of chief architect (Dunham & Dunham, 2014)
(Figure 39). From then, he designed and supervised all the projects until 1964.
While explaining about the eligibility of Architect Boughey for the post of chief architect, Architect
Dunham mentioned in his letter to Dr. Berger, “Mr. Jewkes and I are agreed I think that Bob (Robert
Boughey) would be quite capable to heading the architectural department here. I believe that although he
and Mr. Mayer do not know each other yet they should have no difficulty working together. Unless the type
of work we are expected to do undergoes a radical change in volume or type, Bob has all the qualities
necessary to keep the design and production of drawings going smoothly and efficiently. As his experience
and interest lie primarily in design he will probably face the same difficulties at some of the administrative
and economic aspects that I did. It might help if in your meeting with him you clarify, so far as is possible,
in what measure he will be responsible for them, his duties to you, his position relative to Mr. Rahman, etc.
in whatever capacity he returns.” (Figure 39, 40) (Dunham & Dunham, 2014)
Other architects who have contributed in East Pakistan are Paul Rudolph, Stanley Tigerman, Richard Neutra
and most importantly the master architect Louis I Kahn. The commission of Louis I Kahn to design the
Capital complex of Dhaka (Dacca) was itself dramatic. Counterbalancing discontent over the moving of
existing capital from Karachi to Islamabad and to conciliate the Bengalis’ over growing discrepancy
between the two parts Pakistan – there arose the idea of evolving a second capital in Dhaka. Thus the
National Assembly Building project was commenced in 1959 by the central Pakistan government to pacify
the growing nationalistic sentiments of the other way demoralized eastern wing. To situate the Parliament
in the new capital complex there was an urgency to recruit an architect, initially, the name of Muzharul

44 |
Islam was proposed for the design of Parliament building, but he refused and instead gave the idea of
appointing master architects of modern time believing it will uphold the architectural identity of a relatively
less-acknowledged part of Pakistan (Ullah, 1997). He proposed three names Le Corbusier, Alvar Alto and
Louis I. Kahn. Due to the busy schedule, Le Corbusier and Alvar Alto refused the proposal and eventually
the proposal was accepted by Kahn. Ultimately this massive concrete centerpiece with the backdrop of a
series of ancillary buildings in red brick upholds the pride and portrays sovereignty of East Pakistan and
Lately Bangladesh (Ullah, 1997).

Figure 35: Company Title and Address of LBG Dhaka Office

Figure 36:Architect Dunham’s interaction with students at the Faculty of Architecture BUET

Figure 37:Architect Dunham teaching at the Faculty of Architecture BUET

Figure 38:Architect Walden teaching at the Faculty of Architecture BUET
Source (Above Four): In The Wake Of The Raj Our Life In Dacca 1960-1967, page 28,30 and 33

45 |
 August 25, 1962

Figure 39: Letter from architect Dunham to Dr. Berger on his departure from LBG Dhaka office (Page 01)
Source: Our Days, In The Wake Of The Raj Our Life In Dacca 1960-1967, page 22

46 |
 Figure 40:Letter from architect Dunham to Dr. Berger on his departure from LBG Dhaka office (Page 02)
Source: Our Days, In The Wake Of The Raj Our Life In Dacca 1960-1967, page 23

2.3 Impact of Architect Robert G. Boughey’s Works on Next Generation Local

Architects:
Several interviews have been conducted to identify the impact of Robert G. Boughey on the next generation
architect and their works. As architect Boughey practiced here in the early sixties interviews have been
conducted in three basic categories depending on the passing and practicing year of the next generation
architects. Six architects of the 60s, 70s, and 80s respectively (two architects per category) have been
approached with a structured interview format (see appendix) to understand their ideas about the works of
architect Boughey and how his works have influenced them.

The 60s Architect Tanwir Nawaz, Architect Meer Mobassher Ali

The 70s Architect Rafique Islam, Architect Haroon Ur Rashid
The 80s Architect Nahas Ahmed Khalil, Architect Jalal Ahmed
Table 2: List of interviewee architects from three consecutive decades 60s, 70s, and 80s
(Prepared by author)
The full version of the interviews is mentioned in the appendix. This part has been conducted to have a
general understanding of the position of architect Boughey among the perceptions of next-generation
architects. This part has initially contributed in identifying the significance of architect Boughey’s works
in the local context. This part also triggered the necessity to study about architect Boughey as a significant
figure in the architectural history of Bangladesh. Now, how architect Boughey has designed and which
factors he considered the most are recognized in the next chapters through detail identification of his works
and design approaches.

47 |
Chapter 03: Philosophy and Design Principles of Architect Robert
G. Boughey

“…..Simply, most people who are familiar with the profession would admit that while
all architecture is essentially building, all building is not architecture”. --- Robert G.
Boughey

Preamble
This chapter is a part of the literature review. This chapter explains the background, architectural
practice, comprehensive philosophies and design principles of architect Boughey. This chapter will
enable a reader to have a basic idea and understanding of architect Boughey’s training and how this
training later influenced his design approaches. The content of these chapters has been discovered from
primary and secondary source surveys. A systematic and comprehensive study has been done in archival
literature to cognize the principles of designing and contextual considerations in the local and
international architecture of architect Boughey by reviewing secondary source published data such as
research papers, books, articles, published interviews and websites. A significant part of this chapter
has been derived from direct interviewing architect Boughey and some parts of interviews, he had given
to other sources that were collected by the author from him. By elaborating on the design thoughts of
architect Boughey, this chapter will leave an imprint to readers' minds about his approaches towards
design; how he followed these design principles will be identified and discussed in the next chapter
through his manifested works in Bangladesh.

48 |
3.1 Background
Robert George Boughey (RGB), mostly known as Bob Boughey was born in Pottsville, a small town in
Pennsylvania, United States of America on 20th June 1936. As Architect Boughey mentioned,

“….I was born in a small town in rural Pennsylvania very near the coal-mining
region. I lived there, although moving quite often until I left for university. The first
school was one that had a multitude grades in the same room. It was quite basic. High
school was more urban and had art classes. There I was able to draw and paint”.
(Boughey R. G., 2017-2020)

In his family, no one was associated with architectural practice or studies. But some of his ancestors were
involved in jewelry crafting. This mysterious connection of craft making inherently aided in building an
architectural mind from his very childhood. As he mentioned,

“….When I was a child there were always pieces of jewelry around the house which
were supposed to have been made by someone in the family, but I never found out
who….I’m not sure if there was any single reason why I chose to become an architect”.
(Hoskin, 1993)

He had talents in drawing and painting and he deeply believes that drawing is the prerequisite for studying
and practicing architecture. He studied architecture at Pratt Institute, Brooklyn, New York and completed
his Bachelor in Architecture (B.Arch.) in 1959. Being a student of architecture, Boughey used to spend a
significant amount of time in learning from context and involved in lateral learning by working with his
fellows. As he mentioned,

“When I was a student I worked as much as I could outside of class time. So I worked
for a famous model maker, another time for an architectural renderer. The job that
made me understand a lot about the building was a summer working for a contractor
where I could draw and actually see how buildings were built. I think this helped me a
lot when I went to Asia.” (Boughey R. G., 2017-2020)

In architecture, students often are asked to visit architectural offices, exhibitions, manmade and natural
heritage sites to grow affection, indulgence, and sincerity to nature, setting and place and additionally to
understand the context where to build and for whom to build a project. Similar to this phenomenon,
Boughey mentioned how his class projects inspired him in this way,

“….There was an architect who lived and worked in my town and I visit him and was
encouraged by him to enroll in architectural school. One interesting thing is that for
one of our major class project in first-year architectural school was a community for
Albert Switzer in the Congo. I guess at that time I realized the World was enormous
and there was a lot to discover.” (Boughey R. G., 2017-2020)

Although he has not any clue why he came to study architecture, he gathered some inspiration from his
teachers and getting this motivation he explored who is an architect, what he does, how he dreams and
luckily he got to meet an architect on his own small town. He often used to visit him and observe his
creations and stylistic approaches towards architecture. To explain this pre-architecture study time for him
he mentioned,

49 |
 “Coming from a small town in Pennsylvania, I didn't even know what an architect was.
In high school, one of my teachers said: “Why don’t you become an architect?” And
then I found an architect in my little town. I went to his house and home office. He was
very romantic and encouraged me to pursue a career in architecture. He studied in
Paris and designed neo-classical buildings. He had beautiful Beaux-Art drawings
hanging on his walls. I looked and thought this is really interesting. It was something I
had not thought about but instantly fell love with. I can’t imagine what I would have
become besides an architect.” (Boughey R. G., Conversations with Architects, 2014)
He obtained a diploma degree in Tropical Studies in 1967 from the Architectural Association School of
Architecture, London, England. Boughey was the chairman of the Department of Tropical and Middle
Eastern Architectural Planning, Pratt Institute, Brooklyn, New York in 1969 and a Research Professor at
the same institute. He served as the chief architect of the international division of Louis Berger, Inc. in
charge of all Architectural, Planning, and Engineering activities in Thailand and Bangladesh (former East
Pakistan) from 1961 to 1970 (RGBarchitects, 2020). The achievements and timeline of his educational and
architectural practice have been shown in Figure 41 and 42.

Figure 41:Achievements of architect Boughey

Source: information from http://www.rgbarchitects.com/ (Prepared by Author)

50 |
 Figure 42: Timeline of Architect Boughey’ educational and architectural practice
Source: Prepared by Author (information from primary source survey, RGB Book and http://www.rgbarchitects.com/)

51 |
3.2 Architectural Practice of Architect Boughey
In parallel with his study and post-graduation research, he worked as the assistant designer in Cherner, a
New York-based Industrial Design Company (presently The Cherner Chair Company) with Norman
Cherner (Industrial Designer), Whalen Brothers (General Constructors, Pottsville) and Norman Briskman
(Architectural Models) from 1954 to 1959. In this time frame, he also worked as a designer in a Brooklyn
based office with Henry V. Murphy in designing, planning, and supervision of drawings. He worked as the
chief designer in designing several gymnasiums, swimming pools and other related facilities with Architect
R.M. Christensen in New York. His involvement also includes Site Supervision, Shop Drawings and Trade
Coordination for other variety of projects (RGBarchitects, 2020). He was the Junior Partner of Bayol Bertoli
in Geneva, Switzerland and worked on a Variety of Architectural Projects including design and supervision
of construction of Air India Booking Office in Paris, Master Plan for Eau Vive Housing and Commercial
Area, Geneva. To explain about his experiences while working as a fresh graduate Boughey mentioned,

“I remembered when I left America the first time, I met a girl in Paris and she knew an
architect in Geneva, Switzerland, so I went there. I worked with the team, one American,
one Swiss, and one Indian architect. We got to do the Air India office in Paris. That was
my introduction to the exotic east: different music, ladies in Saris, eastern architecture,
and I thought “this must be an interesting place”. I really wanted to go to Asia and so
I went when the company Louis Berger said “We have some projects in East Pakistan
now. Do you want to go there? “And I said “Yes” So I went there and lived there for
3 years (Boughey R. G., Conversations with Architects, 2014)
From 1961-1964: Architect Boughey was hired and worked as both assistant architect and chief architect
in Louis Berger Engineers Inc. in Dacca (now Dhaka) office in East Pakistan (now Bangladesh) (Figure
43). He was in charge of all architectural and planning activities of this firm in this region during his tenure.
The projects in which he worked will be discussed elaborately in chapter 04.

Figure 43: Architect Boughey in Louis Berger Ltd Dhaka Office

Source: Our Days, In The Wake Of The Raj Our Life In Dacca 1960-1967, page 11

52 |
From 1965- 1966: He continued to act as the chief architect of Louis Berger Engineers Inc., but this time
in Bangkok, Thailand. Here his involvements include all kinds of architectural, planning and supervision
activities. He was involved in the design, supervision of design drawings and construction of National
Indoor Stadium (Figure 44), several housing projects, expiation galleries for U.S. Trade Center and Design
of U.S. Pavilion for 1966, First Asian International Trade Fair in Bangkok, Faculty Housing NEC
Vientiane, Laos and design of prototypes of school for Laos (Hoskin, 1993) (RGBarchitects, 2020).

From 1966-1967: Architect Boughey researched experimental structures for low-cost applications in
housing, school and community facilities. He wrote treatises on the “Use of fiberglass in Developing
Countries” (RGBarchitects, 2020).

From 1967-1970: Architect Boughey became the chief architect of the International Division of Louis
Berger Engineers Inc., he designed projects that include design of low-cost housing and new towns for
40,000 people in Iran, US pavilion for second Asian International Trade Fair in Tehran, Driving School in
Pennsylvania, Dormitory for Kutztown State Teacher’s College in Penna, TWA service Building in Madrid
and State Subsidiary campuses (RGBarchitects, 2020).

From 1970-1974: Architect Boughey became the managing director of Louis Berger Inc. and at the same
time continued to work as a chief architect for different architectural, planning and Engineering projects in
Thailand and Southeast Asia. These projects includes the design of Asian Development Bank for Serdang
Agricultural University in Malaysia, Sium Center Shopping Center, KLM Flight Kitchen, Second Church
of Thailand, Interior Design for the chase Manhattan Bank, Consultant to Sheraton Hotels, Mumbai, India
and Cantonment and Housing in Royal Thai Air Force, Doi-Intanon, Thailand (RGBarchitects, 2020).

From 1973 to present: Architect Boughey’s career in Thailand had built up stronger with his better
understanding of the context with the client. He began with the design of National Indoor Stadium during
his first stay in the mid-sixties and he continued practicing after his permanent residency from the 1970s
onwards. In the first four years, he designed Siam Centre, KLM Flight Kitchen and the interior of the Chase
Manhattan Bank under Louise Berger Inc. consultancy (RGBarchitects, 2020). Later he formed his own
company, Robert G. Boughey and Associates Co. Ltd in Bangkok, Thailand and playing the role of
Principal Architect till now. Currently, he is involved in some commercial, residential, school, hotels, civic
facility buildings and several government projects (Figure 45). To explain the diversity of his working
grounds Architect Boughey mentioned,

“Actually, I never did practice in Pennsylvania. I went to study architecture in New

York right after finishing High School, and I continued to work there for a short time.
After, I spent some time working in Europe which was quite enjoyable. Following the
European experience, I actually ended working in East Pakistan (present-day
Bangladesh). We designed a lot of projects there. It was only after East Pakistan that I
ended up settling in Thailand for the first time” (Boughey R. G., Conversations with
Architects, 2014)
This diversified working context and locations aided him to think critically and to design for the time and
place.

53 |
 Figure 44:Huamark Indoor Stadium by Boughey in 60s, Bangkok, Thailand
Source: http://www.rgbarchitects.com/)

Figure 45:Bangkok Art and Culture Center (top left),Bank of America Bangkok (top right), Bangkok Pattana School (bottom
left and middle) and SCB Training Center Chonburi (bottom right)
Source: www.google.com and http://www.rgbarchitects.com/)

54 |
3.3 Comprehensive Philosophy of Architect Boughey
In this section, an overall understanding and philosophy of architect Boughey has been tried to be identified
through literature review and studying secondary resources such as books, articles, interviews, online
articles and conversations with the architect through semi-structured interviews. Then the thoughts have
been categorized under some headings to elaborate them. The main points are following-

a. Rationality in Architecture
The idea of logical sequences is visible in Boughey’s design and there is a connection among his training
and practice that can support this statement. The then teachers of Pratt institute, the university where
Boughey studied a bachelor of architecture, were essentially the next generation after the Bauhaus.
Boughey’s mentor trained under Walter Gropius’s supervision. Emphasizing on the issue of rationality in
architecture, Boughey mentioned,

“That way you get to the heart of the problem, so, hopefully, when the building is
finished you should be able to explain what it is supposed to do. There is always a lot
of choice in a building, how important one aspect is over another and with this
approach you should be able to make the right decision, the logical decision… The
Bauhaus School of Architecture is a very systematic approach to design, not only in
terms of the function of the building but in terms of the design itself” (Hoskin, 1993).

The Bauhaus particularly emphasized on abstract three-dimensional design and these concepts helped
Boughey indirectly in designing a building, considering design development, a step by step process. While
explaining about the supremacy of rationality over myth Architect Boughey mentioned some experiences
from his current practice in Thailand; he stated,

“It can be a nightmare. On one of our recent projects that was just about to be finished,
we ask the owner to adjust something and they said that since it would cost more money
they didn’t want to do it. But when the Feng Shui advisor came and told them to move
an entire column or wall for an enormous cost, they were willing to change it. I believe
in some old Feng Shui concept such as not putting the house near a bend of a river,
where it could easily be flooded. I can accept that. But I don’t believe in it completely.
If you do a proper analysis of the requirements of the project, there should be no need
for further control which may be quite arbitrary” (Boughey R. G., Conversations with
Architects, 2014).

Feng Shui, a system of regulations considered to govern spatial arrangement and orientation concerning the
flow of energy (chi), and whose favorable or unfavorable effects are taken into account when siting and
designing buildings. In the above statement, Boughey emphasized the logical design considerations about
a site in terms of its orientation, placement rather than arbitrary concerns and random concepts. Another
preference of the architect is to follow simplicity in terms of drawing, designing and making. As he
mentioned,

“…. Perhaps because of these and other practical factors, I think our design approach
and concepts became very pragmatic rather than idealistic. We kept ideas very
understandable and drawings easy to understand” (Boughey R. G., 2017-2020)

55 |
From Structural layout to spatial arrangements Boughey follows pragmatic approaches and he believes in
contextuality over myth, rationality over aesthetics and practicality over superficiality. All these concepts
will be verified in the next chapters through his manifested works and his rational approach suppose him
to be more inclined in the modernistic approach, as being rational is one of the prime concerns for being
modern in architecture.

b. The Primacy of Function over Aesthetics

Architect Boughey believes in space making, he reinforces in the concept of appropriate place-making.
Despite pseudo visual quality, he admits functional accuracy, this point of view of the architect will be
precisely analyzed in coming chapters in terms of space and building element designing. To Boughey an
important building is a perfect amalgamation of aesthetics and functions. He addressed this point by stating,

“….People pretend the function is the starting point, but I suspect the building has
always been there, perhaps in another idea you had when you were younger. The
subconscious is at work. Also, there is a continuity in what you are working on, and you
get used to certain types of solutions. Architecture thus has a social role, it should make
a contribution to the quality of life as well as serve a specific function” (Hoskin, 1993).

c. Architect-Client Relationship- A Team Effort

The commitment between the client’s desire and the architect’s design sometimes fails to go in parallel.
This phenomenon often occurs when a client has multiple choices and the architect has to choose and select
the best possible way to satisfy the need of the client through design. According to Boughey the relationship
between a client and an architect is crucial, to express this statement he mentioned,

“If you don’t have a good client, you don’t get a good building; the client deserves the
buildings they get…When a client comes to us and asks for a building, we then take the
idea through the building and try to look at it backward to see if it is exactly what is
wanted; why there not four bedrooms, how many people will come to dinner, and so on.
You then end up with solutions to a series of questions which we ask the client, and that
gives you the starting point for the design” (Hoskin, 1993).
It becomes difficult to make a client understand that an architect designs for client’s best benefits. And even
this becomes a challenge in third world countries where social customs govern over logical sequential
decisions, even it often becomes harder for a young architect to convince an older client, this phenomenon
ended with a conflict of interest in between client and architect. He also added,

“….Our most successful projects have been those where the entire design package was
done at the same time. This, of course, is easier when the building is meant for a single
tenant, but we feel everyone benefits when the architecture and the interior is done at
the same by the same team. If not, well, people can do horrible things to the people’s
buildings” (Hoskin, 1993)

Luckily, architect Boughey had faced little from such problems. In maximum cases, clients were
cooperative with his design ideas and thoughts and this blending works behind the success of his projects.

Architect Boughey believes in real client projects, where he can understand the client’s demand by directly
talking to them. According to him, a project’s success depends on how the client can make the architect

56 |
understand his demands at the same time how that architect understands and reflects that particular
demands, needs and dreams of that client. In this respect he mentioned,

“….I don’t like competition for two reasons. The first is that you can’t have a dialogue
with the owner or user. I think the beginning of a project is so important. The architect
talks to the owner and refines the program to suit the owner’s needs. In a competition
you can’t ask many questions or have a productive dialogue because the requirements
are so broad or because there is no one who you can speak to in a casual manner.
However, there is a benefit for the young architects. If they win the competition, it could
easily be the big break that they were looking for to set up on their own. . But if they
are not careful, they are going to bankrupt themselves” (Boughey R. G., Conversations
with Architects, 2014).

In every project appropriate leadership and responsibility of the architect are inevitable. Sometimes
architects cannot take leadership and ultimately the whole project suffers. In this era of the internet all kind
of design solutions are available, this can mislead anyone, now buildings are built irrespective of what the
context and climate are, architect Boughey explained this situation as alarming. From his current practice
in Thailand architect Boughey shared his understandings, he stated,

“…I think we all really have a difficult time at some time or another. Sometimes the
client does not know exactly what the architect is providing so you need to educate and
lead them. That is a responsibility that we must share. But many of the clients think
they know what we do so they don’t want to even listen to sound advice. I’m not sure
why that is. But I think there are many times that the young architect cannot have a
frank talk with the client because the client is usually older, or more traditional”
(Boughey R. G., Conversations with Architects, 2014).

Preferably a client goes to an architect because he knows and understands the way he works, what is the
capacity or expertise of an architect; when a client consults with too many architects and when the terms of
monetary dealings came in front of clients in some cases clients reverted without understanding the
possibilities.

Completed projects receive more public attention than the process of their creation and so the myth that
architects design buildings alone live on. In fact, architects work with many others and the relationships
that develop, particularly with clients, have a significant impact on design. A perfect amalgamation of the
client’s requirement, architects’ appropriate decision, engineer’s proper structure, and service design leads
to a successful project. In behind scenario of an efficacious project there lies a coherent relation between
architect, engineers, builders especially the clients, and this coherence has a significant impact on the
success of the design (Franck & Howard, 2010)

All these above explanations express architect Boughey’s concept of rationality in design and the process
of making that design in real scale with the support from the client and other consultants, it expresses that
he believes in a team effort and group exposure, which resembles modernity and contemporary thinking
while designing.

d. Architecture as a Form of Art

57 |
When the question of the relation between art and architecture was revealed in front of architect Boughey.
He recalled the scene of the architectural field in Bangkok in the 1990s. According to him, spatial quality
outlines the beauty of an architectural form. He mentioned,

“It (Architecture) should be an art, but it is still difficult to see it in Bangkok….Because

everyone seems to have his own definition of beauty or art. And although there may be
a clear distinction between what one likes and what is considered good art, everyone
agrees that there may be a difference…I’m not sure if the building itself is art, except
as form, but I think space is very important, how it is integrated with the building. That
could be art. The form of a building is not so apparent without space” (Hoskin, 1993)

From this declarations it is evident that architect Boughey prefers to craft space, he emphasized designing
quality spaces rather than making visually appealing elements. His preferences towards space making over
unnecessary beautifying remind us of the essay concept of modernist architect Adolf Loos, “Ornament and
Crime” (Loos & Opel, 1998). This approach of him will be cleared in the next chapters through his works.

e. Adaptability
Architect Boughey was born and brought up in an occidental culture, despite that he started his career as an
architect in the 1960s in a recent decolonized country, East Pakistan where there was a scarcity of
architectural professionals, tools, and technique to design and build buildings. In this situation, in spite of
stepping back, architect Boughey chose to face the challenges with fewer possible tools and opportunities.
In his words,

“….I was amazed when I got there (East Pakistan). I couldn’t believe that for such a
big country, there were only 5 architects. Anything and everything we designed got
built and I learnt a lot since we also had nothing to build with except bricks and cement.
Concrete structure using brick aggregate, brick walls, polished cement floors,
whitewash walls. We had to improvise steel windows using steel angles and makeshift
hardware. We had to do blue prints outside, so that you didn’t get sick with ammonia
fumes. They had a box, you put paper inside, put in ammonia, and put the negative in
and it turned blue. We originally had heavy teak T-squares which were never quite 90
degrees. So we developed parallel rulers. Everything was drawn in ink, that took forever
to dry because it was so humid. We built many buildings, a few universities in
Bangladesh. I even designed their main railway station. The experience taught me a
lot because it forced me to be creative in my design with the least tools possible. We did
not have the luxuries that you might find in developed countries so we were forced to
work with what we had. Not only that, we realized that builders there weren’t
specialized at all, they were mainly just laborers. But, it’s amazing what you can do
when you have practically nothing” (Boughey R. G., Conversations with Architects,
2014).

f. Contextuality- Understanding a Place, Sense of Belongingness

As a young architect, Boughey got the opportunity to work in different places with different contexts. The
first practical experience architect Boughey got in East Pakistan with a real client, community and context
just after graduating from Pratt Institute and this experience in the orient helped him in working, considering

58 |
existing and available scopes in terms of context, tools, materials, etc. Initially, his idea was to continue
work in diversified zones but ultimately he realized that it is rather better to focus where anyone belongs,
which area he understands the most. In his words,

“(It would be) Nice to live and work in 20 different countries,” then I understood, “You
can only work (as an architect) in the country where you live and which you
understand” (Hoskin, 1993)...Yes, by living here I think I understand a little, At least I
feel comfortable here. If you look at some of the projects in Dubai and elsewhere, they
have no specific identity with the place. They could be located anywhere. If there was
a historic element or local architecture worth preserving, the new megaprojects may
not be that appropriate. Perhaps in situations where the indigenous architecture is
barren or non-existent, this anonymous architecture may be useful as a testing ground”
(Boughey R. G., Conversations with Architects, 2014)

This concept ultimately triggered the urge of his settling in Bangkok. In terms of engaging foreign architects
in local projects, architect Boughey also emphasized on unifying local prevailing ideas with modern tools
and techniques so that the place-ness of a region could be continued and flourished. He shared his Bangkok
experience and emphasized by these words,

“…..Far you have had a limited number of foreign architects working here. I’m not
against this. There should always be an artistic exchange so that ideas don’t get
stagnant. Local architects and foreign architects can get knowledge and learn a lot
from each other. But the danger in bringing outside architects to do projects is that it
is going to exaggerate the changes in the physical aspects of the city because the
building may have nothing to do with the country. The local architect may have limited
impute. They may take a design for Dubai and put it here. This makes me worried
more than anything because these designs may not be appropriate to their place
(Boughey R. G., Conversations with Architects, 2014)

g. Respecting Culture, Tradition, and History of a place

"Real" architecture has an attachment to a larger reality that goes beyond architecture itself. Characteristics
of the land, the attributes of the people, the economic basis of the building environment, range of uses,
climate, culture all are the determinants of form. Architecture is the representation of a nation’s culture,
combined with all aspects of human life and has a thoughtful influence on it; it is a consequence of the
cultures of society and is generated to grow ethics in itself (Parvizi, 2009). And according to architect
Boughey,

“….You know the architecture defines your place. If there is a reference, you will know
what city you are looking at. You shouldn’t have to have someone to tell you that it is
Bangkok. It would be a shame if we had to label all buildings with a location indicator”
(Boughey R. G., Conversations with Architects, 2014).
Tradition and culture contribute to separating one region from others in terms of lifestyle, customs,
civilization, society, heritage, values and so on. According to architect Boughey it is very important to
pursue and nurture native cultures, he acknowledges fusion but at the same time gives sufficient focus on
the significance of retaining cultural values, norms, ideas, and ethos. As he described,

59 |
 “….If that is true, I think that they missing are the opportunity to make something better
and more appropriate. You must always try to offer some respect to history. You know,
I don’t understand why some architects are so afraid to acknowledge that growth is
impossible without completely ignoring the past. For example, look at a cathedral that
took a few hundred years to build; it might have started out as a Romanesque structure,
went to Gothic and then to Renaissance. There are so many different styles together in
one building. I think you should make a reference of architecture in history because
it’s such an important reminder of a person’s make-up” (Boughey R. G., Conversations
with Architects, 2014).
A region’s identity is best expressed through its cultural evidence and its inhabitant’s behavioral pattern.
To elaborate this point Boughey mentioned,

“….It really is important to understand the cultural and physical precepts of a place.
One of the reason I stopped doing work oversea from here is that I realized I did not
know enough about local conditions to make an impact. I did some work in Iran and
other places but I don’t know the countries well. You really have to know the country
well to design something successful and appropriate” (Boughey R. G., Conversations
with Architects, 2014).

h. Architecture from Intangible Dialogue to Tangible Form

In architectural representation, sometimes things become hard to understand and sometimes the concepts
of projects are written thoughtfully than the project itself, this leaves some scopes of misconception.
Boughey explained,

“….I’m suspicious of architects who explain their work too well. You read what they
write, hear what they say, then you look at the building and it is not always easy to see
a connection” (Hoskin, 1993).

Architect Boughey rather tries to follow simple words over intricate writing and simple drawings over
complex, elusive details. In an interview when he was asked to tell about one of his buildings in Priest and
Seminarians Residence at Notre Dame College, Dhaka he preferred to sketch and annotate on drawings
rather than write in words. He expressed like this,

“….You asked some questions regarding Notre Dame. Instead of writing, I have marked
up the 2 elevations and the plan” (Boughey R. G., 2017-2020)

In this regard, Boughey mentioned his training as an architect as a background of his belief. He said,

“….I think it actually came from my education. I had a classical architectural

education from teachers who had a Bauhaus background. That was very good for me.
We all received a very thorough education in classic modernism and architectural
logic. My teachers said, “Just learn how to do what we tell you and then do whatever
you want.” They had confidence in their own approach” (Boughey R. G.,
Conversations with Architects, 2014)

i. Attitude towards Architecture as a profession

60 |
According to Boughey architects have a social role, they need to contribute with their professional
knowledge and at the same time, architects also need collaboration from the society, and they must be
benefited from what they are doing. He believes every building should facilitate its inhabitants and should
have a positive impact on its surroundings and its neighbors. He pointed out like this,

“ It must in some way benefit the owner and address his requirements and aspirations;
It must benefit the Architect, in giving him a better understanding of a significant
problem, aesthetic objective, or social expectation; The Architecture should benefit the
profession, either by setting an example of professional conduct, or by sharing some
new approach to problem solving , or a simple example of a unique technical solution;
The completed project must acknowledge the context in a location and its impact on
environment and society a solution society; It could be a direct contribution of
providing public art, or green space, or public access. There must also be awareness
on the buildings impact on natural phenomena such as sunlight and air circulation; In
simple terms, while the interior of the building may be inward looking though shared
by the owner and the owner’s tenants, guests, family or employees, by the nature of
architecture the exterior must and will be shared by the neighbor’s, community and
society at large. It will reveal a great deal about the intent of the owner and architect.
This acknowledgement of the role in the community is very often missing. If the project
successfully addresses the above points we believe that it will approach becoming
architecture rather than building” (Boughey R. G., Perception of Architecture, 2008).
In telling about the significance of professionals and architecture as a profession he mentioned,

“Most people go to professionals when they are trouble, they are either very sick, have
just shot someone, or have a terrible toothache. And they listen to the advice their
doctor, lawyers, or dentist gives them. Not so architects, people have a different
approach, they are usually not in serious trouble, and they mostly think they can solve
their own problem or build their own building if that process were legal. So many times
there is a bit of mild confrontation as the client may want to show that he really could
design this himself, or at least have someone draw up his ideas for little cost. This has
several ramifications. One it is difficult to draw the client into the complicated design
process because in his view, there is really not much work to be done…It is all about
problem Solving and the approach to it. Consistency and problem solving will lead a
path to good responsive architecture” (Boughey R. G., Perception of Architecture,
2008)

3.4 Principles Manifested in Architect Boughey’s Designs

This section discusses the principles that are followed by architect Boughey while designing. This
section is also based on literature review and secondary resources such as books, articles, interviews,
etc. An attempt has been conducted to identify which principles and design considerations are taken by
architect Boughey while designing. They can be categorized under the following headings-

j. Contextual Awareness
The concept of environmental awareness could be seen in the designs of Boughey not in a simple
preservationist manner but with a creative addition, he tries to integrate the ideas of landscaped site, public
space and the building itself and there remains a flow of continuity in space from indoor and outdoor.
According to him, environment planning is not a question of money. With the appropriate use of built and

61 |
green space, profitable land use can be done. Architect Boughey acknowledged the relevancy and
significance of taking care of surroundings while designing. It is in the hand of an architect where a setback
area around a building would be green, usable space or would be a negative, leftover space. Boughey added
in this note,

“…. the onus is on the owner; it is his responsibility to the public…. The completed
project must acknowledge the context in a location and its impact on environment and
society a solution society; It could be a direct contribution of providing public art, or
green space, or public access. Architecture inevitably changes the environment,
obviously it destroys or takes away something of the natural surroundings, but it can
also put something back”. A project should have “green” elements” (Hoskin, 1993).
He emphasized on environment awareness as he believes it has become mandatory for all the
professionals who are associated with this terminology. He said,

“….Now, the green certification movement seems to be dominated by the engineers as

a profession. But I think everybody should have consideration of their surroundings as
well as the environment” (Boughey R. G., Conversations with Architects, 2014)
To explain this statement Boughey mentioned Diethelm Towers in Bangkok, where many of the existing
trees were preserved or replanted. And he considers a replantation is a good option while site planning and
in this case many of the trees were old and diseased, completed their lifespan.

k. Site planning and landscaping

Architect Boughey tries to design considering the site and context, while not only considering the building
itself. Without a proper amalgamation of context and building, it will not become a successful architecture
in terms of environmental awareness, spatial definition, and user’s preferences. He also added,

“We have always paid great attention to site planning and landscaping, especially when
there were significant features to preserve or to use as major elements in the
design….Now we pay more attention to landscaping perhaps as a reaction to the
deteriorating environment, we are very attentive to water and try to introduce some
element in every design; if it is not already present at the site, we add it” (Hoskin, 1993).
Here Boughey is trying to say about his design approach, that how he and his team emphasize doing
landscape details so that his designed buildings can contribute to its environment and surroundings. This
point is very much applicable to the works he has done in Dhaka Bangladesh, they will be explained in the
next chapters.

l. Harmony in indoor and outdoor- Space and Context

Architect Boughey was concerned about designing in orient and occident. His approach and thinking about
making spaces differ according to their location. In the firsthand experience of working in the tropical
climate of Asia, Boughey categorized the differences in designing in the west and east. He emphasized
designing urban open spaces surround a building to incorporate more users in a comfortable zone both in
semi-outdoor and outdoor spaces. As he mentioned,

“….In the West everyone goes into a Cathedral, but in the East the people are outside,
they are not so involved with interior space, only the sacred image is inside the temple.
Angkor is a good example….This is the biggest difference between East and west, and

62 |
 in my work I try to incorporate big public spaces and not draw an obvious line between
the public and the private. You see tis in the upcoming Siam Commercial Bank project
and in Diethelm Towers; from the inside to the outside, all the spaces flow. And with
the building itself I like to design offices that give everyone an outside view, not have
them blocked in an inside core” (Hoskin, 1993)
To reflect this idea Boughey designed several buildings in Thailand with local influences where he
refrained building elements from touching directly to ground which is a common practice in West. He
often raised small scaled buildings up and make ground floors open

m. Stylistic influences-Geometric, Scale, Urban

Boughey divides his buildings (Especially his designs in Thailand) into three categories; in terms of urban,
geometric and scale; these types go with the prevailing principles. Urban relates mainly to the commercial
or office buildings where the outline of the complex is determined by the land use, commonly end up with
high-rises that reflects the demand of accommodating high demand of users within a minimum footprint.
These buildings ultimately turned into simple layout and shapes with complex functions residing among
them.
Geometric concepts tend to come forward when the land density is less superior and there remains liberty
to develop the building and mold it in a variant way within the geometric framework. In fond of systematic
order, geometric references and inspiration Boughey mentioned that there is a connection of his
symmetrical design approaches with the configuration of western classical buildings and his geometrical
biasness in design layout with Mughal Architecture that he witnessed while practicing in Asia.
The scale is another prime principle while designing. From domestic to commercial or private or public,
scale defines the use, efficiency and prospects of a building or complex. Architect Boughey prefers to work
meticulously in graspable and manageable scale projects. Regarding his perception about scale Boughey
stated,

“So it is good to have smaller projects in the office at the same time to experiment a
little bit and see some new ideas quickly” (Boughey R. G., Conversations with
Architects, 2014)
To architect Boughey, the success of a project in terms of stylistic review depends on how it is articulated
till the end! No matter how beautiful the building is designed, the way it is being constructed, decorated,
used and maintained has a great impact on the visual and functional attainment of that project. He mentioned
one of his experiences like this,

“….In the end you don’t articulate the style until you finish. I like sculptures so I use
few materials and very simple forms. One project that made me happy was the Rolex
project. It’s a small building on Wireless Road. The manager of Rolex Asia, he was and
is a famous artist. He said “Do whatever you want, tell me when it finished.” He never
changed anything. . Many clients want to add the finishing touches by themselves, and
then 2 years of work can be destroyed in a month. It is a magical moment when you
finish a building and it stands as you intended it to be. When you just have to finish it,
you must run in and photograph it before someone decides to add their whims”
(Boughey R. G., Conversations with Architects, 2014).

n. Attention to details

63 |
One of architect Boughey’s prime concern for every project is to give appropriate attention to the details.
Every element or attribute of his building has a significant purpose. This point will be cleared in the next
chapters when building attributes will be discussed thoroughly. To elucidate about detailing architect
Boughey cited,

“The details relate directly to the concept. There is no line where there is a clear
separation. The building must be seen from many distances and levels. It must look
good from afar, and up close as well. That’s where the details play a part; a constant
effort from making it real from the scratch level till the finish is considered one of the
prime design concerns” (Boughey R. G., Conversations with Architects, 2014)

3.5 Some General Understandings of Architect Boughey

o. Architecture Education: Architects and Teachers

Architect Boughey mentioned with frustration that some buildings in Bangkok lack initial
conceptualization, he mentioned a condominium where there is no window in the living room and anyone
has to cross the kitchen to get into the guest rooms! To summarize these horror architectural consequences
Boughey believes the education system itself is responsible for this kind of misconception. In earlier times
teaching and practicing architects are not the same, but nowadays students are being taught by the architects
who both teach and practice simultaneously, so there remains a matter of confliction as students cannot find
the philosophies in the designed buildings of that teacher architect. So they become confused. Students
follow what they see about their teacher’s designs, so greater responsibility lies on teachers to build and
design the types of building they teach in class.

“….The most important requirement is that we need a person who can draw by hand
and who can sketch. I don’t want to see any design on the computer. We do all the
working drawings on the computer but we do not do the concept design on it. Otherwise
we will spend more time worrying how the computer works rather than the design itself.
It is important to draw and to have your ideas flow directly….. So you put a lot of
importance and emphasis on sketches. You have to bring out your imagination directly
to the drawing. Actually, I did some sketches almost every day.” (Boughey R. G.,
Conversations with Architects, 2014)

p. Unifying Teaching and Learning – Lateral Learning

Architect Boughey considers it is mandatory to believe in lateral learning whether anyone is an employer
or an employee. He believes that every architect should take responsibility, be creative in his own way and
even he/she should suggest his/her employer what will be the best for the project. A project becomes
successful with the joint effort from the full team. Without it is being supervised and executed properly, the
project may fail. Boughey believes in a team effort and even he prioritizes on adopting new ideas and
contemporary thoughts from his young apprentices and colleagues. As he mentioned in the following way-

“When I tell somebody to do exactly what I tell him to do, it is not useful unless he
understands and agrees. I need somebody who sometimes tells me you should do this,
not that. So the dialogue is important. By the way I am amazed how your office can
make a large office work so well” (Boughey R. G., Conversations with Architects, 2014)

64 |
 Chapter 04: Architectural Works of Robert G. Boughey in
Bangladesh

“When I first arrived in Dacca there seemed to be very little architectural activity.
Small buildings seemed to be constructed by small contactors from a single plan
drawing which was developed between the builder and the owner. Perhaps because of
practical factors, I think our design approach and concepts became very pragmatic
rather than idealistic. We kept ideas very understandable and drawings easy to
understand.”- Robert G. Boughey

Preamble
This chapter discusses the examples designed by architect Boughey in Bangladesh. All descriptions here
are based on the case study survey, detailed and intricate observation through sketching, drawing, noting,
taking photographs, etc. In this chapter, architect Boughey’s buildings have been discussed in two broad
categories; Buildings with cellular spaces and buildings with congregational spaces. Buildings with
Cellular Spaces have two categories; Residential and Institutional buildings. Examples are discussed
broadly in the next sections. This chapter explores and provides detailed architectural information about
each project so that further analysis, categorization, and identification of attributes could be done in the
next chapter.

65 |
4.1 Buildings with Cellular Space
This section of Buildings with cellular spaces basically discusses the works of architect Boughey which has
cellular or unit spaces. This category comprises four residential buildings among which there are two
hostels and two residences for the priests; and two institutional buildings (a school and a university faculty
building) with cellular spaces. Detail descriptions are provided in the following section.

4.1.1 Residential Buildings

4.1.1.1 Boys Hostel, BUET

Just after the British Partition, when there was a trend to build rooms like series of compartments against a
long dark boring corridor without any breathing spaces, Architect Boughey was one the architects who
signaled the concept of arranging rooms against a transparent procession that creates a blending of dwelling
units with nature and openness. The design of three identical boys’ hostels exists with pride from the period
of the sixties at the southwestern side of the BUET campus. Located against a central road, named Zahir
Raihan road, these hostels are continuously supporting the accommodation, food and other common
facilities from the very beginning of their construction. Bangladesh University of Engineering and
Technology (BUET) is the most recognized and prestigious university for higher studies in the country
(BUET, 2019). Each hostel complex comprises of two identical residential wings, a canteen block, and a
common room cum prayer room block. Two identical wings sprawl in two opposite sides with a slight slide,
holding a courtyard in between them. These two wings are connected to each other with a simple and
visually light covered walkway that intertwines canteen block on one side and the common room-prayer
space block on the opposite side. This walkway act as a continuous loop or special spine of the entire
complex.
The residential wing is linear-rectangular in the plan of about 33 ft. by 232 ft. which sprawls in the east-
west axis to give more exposure to south and north orientations (Figure 46, 47). This alignment has been
considered to be one of the most effective ones, considering the tropical climate of our region. The mass
configuration of the wing could be best described as a combination of transparent and opaque masses and
spaces. The central continuous opaque mass comprising of dwelling units is sandwiched with two
transparent layers on either side, one of which is the corridor and the others are balconies. The residential
wings of each hostel block look at the central courtyard through corridors. These corridors are not merely
used as passages to connect every room, however they act as an informal and spontaneous space for
interaction, conversation and idea exchange between fellows. In the residential wing, the spaces for served
and services are very clearly separated and rightly placed. The full mass could be divided into a symmetrical
order having a staircase at its center and the toilet blocks at two opposite ends of the wing (Figure 46).
Architect Boughey solved several problems with a neat at the same time bold solution. The cellular dwelling
spaces are resided one after another holding the capacity of accommodating four students per room. The
rooms are sufficiently designed to accept the daily need of a student with spaces to arrange cabinets and
study tables. This hostel has a great influence on its former residents.
This building has a very unique façade with a combination of horizontal and vertical lines. While there was
a trend of giving linear corridor with a tedious railing and some pseudo decorative treatments to the
elevation in the early forties to fifties, Architect Boughey took the challenge to design facades logically
despite doing decorations. Not a single element in this building is for a decorative motive. Not leaning on
conventional architectural practice and concept, Architect Boughey tried something new. The corridor and
balconies on two opposite sides of the central dwelling unit are supported and cantilevered by projected
beams (Figure 48).

66 |
 Figure 46: Boys Hostel BUET in 1960s
Source: Author’s Collection from RGB Associates Archive

First Floor Plan

North and South Elevation

East and West Elevation

Longitudinal Section of Boys Hostel BUET

Figure 47:Plan, Elevations and Section of Boys Hostel BUET

Source: Above drawings are prepared by Author

67 |
The lower part of the beams holds a simple linear lintel that actually adds a dimension in the visual
composition and at the same time contributes to giving shade to a certain level to the corridor and balcony.
Considering a sensible approach towards the traits of a tropical climate, Architect Boughey designed rain
spouts that collect the heavy rainfall from top of the roof and discharge them through the vertical concealed
spouts. Architect imagined freshly and converted this very basic functional need of the building for
channeling running rainwater into a physical attribute to treat the elevation. The downspouts are
intentionally kept open at the end and untouched from the ground to represent that these elements are not
for vertical supports (Figure 49, 50).

Figure 48: Boys Hostel BUET just after construction in the 1960s
Source: Author’s Collection from RGB Associates Archive

The truthfulness of material, bold use of brick and concrete, a juxtaposition of the solid void relationship
among the indoor, transitional and semi-outdoor spaces are the main features of this architecture. This
building is composed of reinforced concrete frame and the non-load bearing brick walls are designed to
separate one served space from another. This composition allows the architect to play with the freedom of
structural bindings, the contrast of material and layering of spaces.

While designing with the local climatic considerations architect has adopted certain attributes as shading
devices like dropped lintel, partially opaque railing and overhanging verandas to save the building from
burning southern sun by providing shadow (Figure 53). The outer layer of the building act as a protective
filtration layer. As the building is East-West elongated having maximum exposure towards North-South
direction, all rooms get defused light from Northside and refreshing breezes from the Southside through a
corridor and individual balconies. Window panels were custom-made with a creative as well as functional
composition. The upper segments are fixed and the lower reachable segments are operable. The
composition reminds us of the fascinating works of De-Stijl artist Piet Mondrian.
A low plinth gently guiding through the low corridors that makes anyone to look outward. The connection
to ground, the language of material and composition also reminds of another master of our own, Architect
Muzharul Islam whose designs of exposing brick created a very pleasing sensation.

68 |
Use of brick and brick jali to bring in light to the staircases only added to its fineness. Inviting the light
does not harm the comfort of the residents at all. Like Mathis House of Notre Dame College, careful use of
vertical louvers shows the architect's attention to the sun’s directions throughout the day.

Over the years, these buildings are continuously supporting as the backbone of students’ accommodative
facilities in BUET campus, not only for their services but also for the architectural excellence these
buildings, offered to the students will be cherished throughout their life.
The Common room cum prayer space block has been designed with an alluring proportion with exposed
post lintel concrete framework (Figure 52, 54). This block is also designed with a projected cantilevered
roof that protects the ground floor from sun rays by proving shades and in the first-floor level serve as semi-
outdoor circulation spaces surrounding the central mass. A vertical circulation mass containing two brick
walls adjacent to flights and a jali wall just behind the landing creates a beautiful chiaroscuro ambiance
while approaching towards the first floor. The full ground floor of this block is used as a common room
where the uninterrupted space of the first floor is used as a prayer room. The vertical circulation mass is
simply added to this rectangular block in an additive manner. The canteen block serves as dining hall with
a kitchen, store and a unique circular planned hand wash area.

Figure 49:Rain Device and Downspouts, Boys Hostel BUET in 1960s

Source: Author’s Collection from RGB Associates Archive

Figure 50:Rain Device and Hand-wash Area (Existing View)

Figure 51: Downspouts (Existing View)
Source: Nayem Ahasan Srijon (Current Student of Level 3 Term 1)

69 |
 Figure 52:View towards courtyard and Common room Block, Boys Hostel BUET
Source: Nayem Ahasan Srijon (Current Student of Level 3 Term 1)

Figure 53:View Towards South Wing, Boys Hostel BUET

Source: Nayem Ahasan Srijon (Current Student of Level 3 Term 1)

Figure 54:View towards Common Rom Block Corridor and Staircase (Left and Middle), View towards Hand wash zone
(Right)
Source: Photos captured by Author and the drawing from Engineering Section, BUET

70 |
4.1.1.2 Priests and Seminarians Residence, Notre Dame College (NDC)
Notre Dame College, formerly known as “St. Gregory College” is serving this nation since 1949, as one of
the most consistent higher secondary school in both academic and co-curricular activities. With its first
building in Lakshmibazar, Notre Dame College was established in 1949 by the Roman Catholic Priests
from the Congregation of Holy Cross in a vision to eliminate the crisis in the education sector of newborn
East Pakistan (Congregation of Holy Cross, 2019). From that day this institution is constantly maintaining
quality education and producing notable graduates, who are contributing to different sectors both nationally
and internationally.

Having its campus in Arambagh, near the busiest commercial hub Motijheel, this campus has four academic
buildings and a residential quarter for the priests (Fathers) and seminarians. Initially, the work of one of the
academic buildings and the work for the residential quarter started in the 1960s. The residential unit which
is latterly named Mathis House (on the name of Father Michael Mathis, CSC) was designed by architect
Robert Boughey under the consultation of Louis Berger Ltd Dhaka office.

Architect Boughey envisioned Mathis House as a unique building and which he still considers very
interesting both from a functional and aesthetic perspective. When he was asked to share his view or concept
he preferred to draw rather write. He shared,

“I spent a lot of time on Notre Dame, and have fond memories. One of the Priests
(Father Tim) passed through Bangkok a few times and we met. He is quite famous and
has won many humanitarian awards as well as being a world-famous marine
biologist I’ll write more for you later if you want. It is an interesting building!”
(Boughey R. G., 2017-2020)
The basic concept of the spatial arrangement of this building is to dedicate personalized space for the users
that are segregated both visually and spatially (Figure 55, 56 and 57). This building basically has two main
wings. The northern wing holds common facilities like a prayer room, common dining and living with some
students’ accommodations (was not in design, now post defined). This wing was initially single floored
considering uninterrupted North exposure of the south wing, but this block gradually developed in two-
storied due to increased user demands. And the southern wing comprised of private spaces like Fathers’
and Seminarians’ personal room unit, their dining and toilets. The staggering placement of each bay of
room creates a depth of masses which provides shade as well as privacy to each unit (Boughey R. G., 2017-
2020) (Figure 58, 59).

A relatively open ground floor plan allows everyone to feel the bound free spaces and an approach to be
blended with nature (Figure 60). On the ground floor, spaces with common functions are designed in
northern wing and ancillary functions like parlors, workrooms, library, and storage are located in the
southern wing. These two wings hold a small courtyard which acts as a breathing space and this also
resembles the traditional courtyard-centric arrangement of our context. Spatial arrangements for the rooms
of the Priests and Seminarians are very clearly and rationally maintained. As Architect Boughey mentioned,

“One of the main points is that the elevation is generated by the plan. If there is a major
change in space usage the elevations reflect the change in function... Essentially
the building is the home of Priests (Fathers) in the upper floors and Seminarians
(Priests in preparation to become priests) on the lower floor” (Boughey R. G., 2017-
2020)

71 |
 Figure 55:View towards south side, Priests and Seminarians Residence, NDC in 1960s
Source: Author’s Collection from RGB Associates Archive

Figure 56:Thin Louvers (Old photograph)(Left)

Figure 57:North Side View (Old photograph)(Right)
Source: Author’s Collection from RGB Associates Archive

In the southern wing, there are eight bays, arranged in such a staggered manner that ensures privacy and
mutual shading to one another. The lower units which are smaller and shorter in length, designed for the
Seminarians and the upper larger units are designed for the Priests, who will supervise the seminarians. In
the lower units, there are two rooms per bay and in the upper units, there is one room with a verandah per
bay. The corridor is open at the first floor level in front of Seminarians’ room, whereas upper floor corridors
are shaded with vertical fin louvers to give visual privacy for the Priests’ room.

72 |
Ground Floor Plan

First Floor Plan

Second Floor Plan

73 |
 South Elevation
Figure 58:Plans and Elevation of Priests and Seminarians Residence, NDC
Source: Above drawings are prepared by Author

Figure 59:South Elevation of Priests and Seminarians Residence, NDC

Source: Author’s Collection from RGB Associates Archive

Very interestingly, the exterior façade expresses each space’s functional position, intention, and identity.
To break the monotony and to change the perspective, the circulation corridor is strategically designed in a
staggered way with two vertical circulations in two opposite corners. A shaft was kept in design for an
elevator but it was not installed further. The services of two mirrored bay are combined in one duct for easy
installation of plumbing and utility system and these services are accommodated in a vertical bold mass
which can be easily recognizable in overall form.
16 feet long and 12 feet wide each room of a Priest comprised of an attached toilet and an attached personal
balcony with a minimum possible circulation. The projected balcony protects the rooms from the scorching
southern sun. The railing is composed of a half relatively solid section providing shade as well as privacy
and another half with transparency to allow airflow to the room.

The structure is designed in a way that the load is being carried to the ground by an inner row of columns
leaving the balcony and corridors obstacle-free to invite daylight plus air and make a light visual expression.
All louvers are connected from floor level to the lower face of the upper floor slab except the louvers

74 |
positioned beneath beams, this indicates that the architect intentionally designed them to be expressed as
non-supporting elements (Figure 56, 61).

Figure 60:South Elevation of Priests and Seminarians Residence, NDC (Existing View)
Source: Roufat Nahin Priota (Current Student of Level 3 Term 1, BUET)

Figure 61:North Elevation from North Wing, (Existing View)

Source: Roufat Nahin Priota (Current Student of Level 3 Term 1, BUET)

Each façade of the single rooms is composed of a high level fixed glass window above the door, a brick
wall, a fin louvered window from the lower face of the beam to the sill level and a full-height window in
between the beam and the floor level. While observing this detail, it has been identified that these full height
windows are located in parallel to the transparent halves of the railing in the facade. Architect Boughey was
fascinated by the use of finned windows. As he mentioned about Notre Dame louvers,

“I never understood the reason that there was not wider use of the louver windows. Of
course, there was always import restriction. But the windows are so simple and were
and are still in use in rural Malaysia and elsewhere, even in Southern USA. The side
frames are easy to ship, and one can use any kind of glass. I believe that the secondary
school had similar windows and also the hospital” (Boughey R. G., 2017-2020)
This composition of windows expresses a combination of opaque and transparent visual order which at the
same time correspond with the functional layout and environment responsiveness of the room (Figure 166).

75 |
4.1.1.3 Priests and Seminarians Residence, St. Joseph Higher Secondary School (SJHSS)
This project has not been materialized as per the plan and design of architect Boughey. Therefore, the
description of this project has been skipped. Only the originally designed plan, elevation and a picture of
the model could have been collected as shown (Figure 62). Based on these drawings an attempt will be
conducted in the next chapter to find out some design attributes and features of this project.

Proposed Ground Floor and First Floor Plan

Proposed North Elevation

76 |
 Proposed South Elevation
Figure 62:Plan and Elevation of Priest and Seminarians Residence, SJHSS
Source: Author’s Collection from RGB Associates Archive

4.1.1.4 The Holy Family Red Crescent Nursing School and Hostel
The Holy Family Red Crescent Medical College is a project of Bangladesh Red Crescent Society (BDRCS)
and is run by a Governing Body, duly formed by the representatives of sponsor organization, Bangladesh
Red Crescent Society (BDRCS), representatives from Dhaka University and Government of Bangladesh.
The Holy Family Nursing School was established as the supporting wing for educating about nursing and
students’ accommodation. But later the school converted to college and currently is performing as the
Dental Unit.
The Nursing School was established in the early sixties and this building complex was designed by
Architect Boughey under the consultation of Louis Berger Inc. In this regard architect Boughey mentioned
about his involvement in this project,

“… I went once upcountry by train (near Mymensingh?) to visit one of the rural
hospitals provided by the holy family sisters. The operating room had an automobile
headlamp as the main operating light, run on some old batteries. I was happy to do a
building for them to train more staffs” (Boughey R. G., 2017-2020)
To train up more nursing staff for serving the Holy Family Hospital, more academic and accommodative
spaces were needed. To meet up those requirements a new hostel and a nursing school were proposed and
this project was given to Louis Berger Dhaka office for design and construction. The whole school
compound was divided into two segments by a linear green open space; one is the academic wing which is
located at the southern side and the residential wing of the Nursing Hostel in the Northern wing (Figure
63).
These two wings are connected only at the ground level by a connecting corridor (Figure 64). Initially, the
nursing school unit was designed with a single floor, but later with the increase in user demand, this unit
was extended vertically. As the nursing school unit went through several post-operative changes in the
physical and spatial dimension, it is hard to find out the originally designed parts; so here more
concentration has been given to understand the design attributes in the hostel unit.
Both the academic and residential unit sprawl in an east-west orientation, so that more facades could be
exposed in the north-south direction (Figure 64). To ensure the provision of daylight and ventilation the
academic wing is divided into two separate wings creating a linear courtyard between them. And both wings
are connected with three shaded pathways. Rooms are arranged in a north-south orientation. In the Southern
wing of the academic block, the rooms are larger and specially used as the laboratory and classrooms;
whereas the northern wing of the academic block is used mainly for teachers’ rooms, staff rooms, and other
auxiliary facilities which demand lesser span.

77 |
 Figure 63: View from the open space between academic and hostel wing, Holy Family Nursing School (old photo)
Source: Author’s Collection from RGB Associates Archive

The structure of the full complex is a combination of shear walls and columns for supporting the floor slab
(Figure 64). The courtyard spaces naturally help in collecting natural forces to the building at the same time
it creates spaces for social interaction. To protect the classrooms from direct exposure to southern glaze,
dropped wall shading devices were used. To emphasize an entry, the pattern of shading devices were altered
from both prevailing sides.
As architect Boughey mentioned, he was happy to design for the staff to be trained in nursing, he was given
the responsibility to design a building where the trainees will live. And it was just adjacent to their academic
zone to minimize traveling and to emphasize more on their academic and social responsibilities. Continuing
with the previous orientation concepts, Boughey designed this building sprawling in an east-west direction
to get the maximum benefits of north and south (Figure 65).
To give a residential scale, the building is designed to be approached through a narrow and mundane scaled
pathway that leads from the academic wing towards the entry lobby. Two solid walls after the transparency
of connecting path guide a visitor or a resident to enter and later a solid wall was designed to be placed just
perpendicular to the journey path of a visitor, guides to choose in between the left side and right side of the
continuing corridor. The full building was originally designed as three-storied but later the authority
extended one floor vertically (Figure 66, 67). With a very simple configuration, the rooms are arranged one
after another against a corridor. To emphasize privacy and safety, the corridor was designed facing the
academic block to have a visual connection and this corridor also helps to give shade from the southern
sunbeams. As architect Boughey mentioned,

“…. The corridor is on the south for more safety and privacy. It forms part of the visual
connection with the school” (Boughey R. G., 2017-2020)

78 |
 Figure 64:Ground Floor Plan of Holy Family Nursing School and Hostel
Source: Drawings Prepared by Author

First Floor Plan of Holy Family Nursing School Hostel Block

South Elevation of Holy Family Nursing School Hostel Block

Figure 65:Plan and Elevation of Holy Family Nursing School Hostel Block
Drawings Prepared by Author

79 |
And to break up the monotony, the corridor has meandered through some breaks. As Architect Boughey
mentioned,

“…. Trying to break up the institutional look by breaking up the mass of the building”
(Boughey R. G., 2017-2020)
To break the linearity Boughey has designed this wing in three segments where the middle segment is
slightly pushed backward in southern side and this also enhances the possibilities of creating a shadow over
one mass from another and this mutual shading helps in reducing heat collection.

Figure 66:Perspective view of Holy Family Nursing School

Source: Author’s Collection from RGB Associates Archive

Figure 67:view from inner courtyard of Holy Family Nursing School (Existing View)
Source: Captured by Author

80 |
The pushed segment in the middle of the south hostel wing is comprised of common facilities (Dining,
kitchen) and a room of mother (caretaker of sisters). This change in function is might be another reason for
the formal hierarchy of three segments. The rooms in the western end of the hostel were relatively larger to
accommodate three to four nurses with a central common toilet; whereas the rooms in the eastern end are
relatively smaller with attached toilets for the senior nurses or teachers. As architect Boughey mentioned,

“…The room sizes reflect different functions; students, teachers, common areas”
(Boughey R. G., 2017-2020)
There are two vertical circulations (stairs) one at the eastern end and another is located just beside the entry
lobby. The masses of stairs add verticality to the long horizontal band in the elevations and its higher heights
comparative to the consequent floors add a significance in the roofline (Figure 66).
While considering the interior, each room is facilitated with built-in full height cabinets to reduce space
consumption and ensure compactness. This solid portion of the back of the cabinets also contributes to the
aesthetic dimension by providing division in fenestration and create a composition of solid and void. The
apertures continue from the bottom of the beam to the sill level of a brick wall, where the windows rest
(Figure 68). Architect Boughey shared the following statement when he was asked about the material and
composition of the building,

“….Very simple material so tried to use building shape, massing to create shadows to
define the building” (Boughey R. G., 2017-2020)
As a continuation with his previous examples, he tried to keep the form simple with linear building elements
like dropped wall sunshade and solid railing, divided by a T shaped handrail divider (Figure 69). These
horizontal elements are cleverly detached from one another by columns to express a rhythmic pattern
eliminating the monotony of repetition. The T shaped divider in between the railing cum drop wall of two
consecutive floors, add a twist in the visual property and at the same time break linearity of the individual
punch of corridor. The sunshades collectively create a rhythm visually at the same time they contribute in
protection from sun and rain. Although this building went through some post-operative alterations, the part
that Architect Boughey designed is not hard to find. The dialogue it tries to create with its context is very
clear. Cellular spaces against a running corridor is an age-old common way of designing hostel or dormitory
buildings, but this building no doubt can be an example of complying with this idea but in a different way.

Figure 68:Fenestration Pattern and Interior view of the Dining hall

Figure 69:T shaped Divider in elevation
Source: Captured by Author

81 |
 Figure 70:Vertical Circulation (Stair
Source: Captured by Author)

4.1.2 Institutional Buildings

4.1.2.1 Saint Joseph Higher Secondary School (SJHSS)

St. Joseph Higher Secondary School is a Catholic school in Mohammadpur, Dhaka that started to operate
in 1954 and later shifted to its current location in 1964. Its present academic building was designed by
Robert Boughey as he was the chief architect of the Dhaka office of Louis Berger Inc. in 1964. This school
was established by the Congregation of Holy Cross with a prophecy to eradicate the crisis in the education
sector of newborn East Pakistan.

St. Joseph Higher Secondary School is located against the road of Asad Avenue near to the capital complex
designed by Louis I. Kahn.

In the school complex, the academic wing is the first building visible after entrance. A thick layer of trees
provides a visual as well as an acoustic barrier from the rush of the road. While entering the complex, the
rhythmic character of the long elevation of the academic wing entertains and satisfies a viewer’s thirst for
synchronized architecture. This academic wing is divided into two separate wings, sprawling in the east-
west axis; this enables the users to get maximum benefits from the south and north sides. These two masses
create a kind of inward dialogue between them and create a private courtyard that facilitates in providing
daylight and cross ventilation (Figure 71, 72). These two wings are connected through a vertical circulation.
North wing can be approached from the ground level and the south wing can be accessed from the landing
level of the first flight of the connecting stair, in the middle of two wings. These skillfully handled

82 |
arrangements create a low heightened plinth beneath the south wing, which suits the scale of children and
at the same time keeps a visual connection between the rear playfield and inner courtyard (Figure 76).
Initially while designing the North wing was two-storied and the south wing was two and a half storied.
But later this configuration was changed and a vertical extension was done by the authority which was not
in design. Considering climatic sensitivities east-west elongated less deep mass is considered effective for
our region, this concept is intelligently adapted by architect Boughey here in this example.

Figure 71:St. Joseph Higher Secondary School

Source: Author’s Collection from RGB Associates Archive

Interaction spaces and connecting corridors are designed to face the inner courtyard and they are arranged
considering visual interplay among spaces at different levels. The inner courtyard is just ample to bring in
light and air to ensure proper daylight in every part of the building. The long unavoidable corridor in each
academic wing is handled in a stimulating manner, which shades the classrooms from burning sun rays.
Long vista of elevation was orderly broken by tricky details which as well collaborate with the climatic
need. In between the beam to beam span, the designer carved out a small portion from the continuous railing
and drop wall to make every element visible (Figure 71, Figure 72).

Inside the building, the plan yields comparatively tame box-shaped rooms, but here architect tried to give
students a lively effect by alteration in room arrangements. Two classrooms (26 ft. 26 ft.) are arranged
consecutively with an alternate breakout space in the south wing (Figure 73). This alternate breakout space
act as breathing space for the students and create a passage to channel the southern breeze towards the north
wing. From a study it has been found that students mostly learn outside of a class, this configuration was
more than appropriate for informal sharing and lateral learning. But unfortunately, these breathing spaces
were replaced by the classroom by the school authority as a post-operative alteration to accommodate a
further increase in demand. Toilets are placed at the two alternative locations in the north wing; they are
facilitated with appropriate light, ventilation, and functionality.

83 |
 Figure 72:St. Joseph Higher Secondary School view from North-West Corner
Source: Author’s Collection from RGB Associates Archive
The structural modules can be seen in the exterior façade, as the beams are exposed outside by the edge.
The full building is composed of reinforced concrete structure with non-load bearing infill walls. This
structural system allows the connecting corridors to be cantilevered and freed from vertical obstacles. The
façade is consists of references of beams, drop walls, railings and shading devices. Here, structural elements
and materials were exposed in their original state to express the truthfulness of material and structure itself.

First Floor Plan of St. Joseph Higher Secondary School

84 |
 South Elevation of North Block, St. Joseph Higher Secondary School

North Elevation of North Block, St. Joseph Higher Secondary School

South Elevation of South Block, St. Joseph Higher Secondary School

Figure 73:Plan and Elevations of St. Joseph Higher Secondary School

Source: Author’s Collection from RGB Associates Archive

The main visual expression this building has got from the arrangements of the sun shading devices. As
providing daylight is one of the prime concerns for any institutional building, long panel windows with
swings sprawling between span have been incorporated by the architect. To shade these generous glass
panels, rows of horizontal concrete panel shading devices are supported from the projected beams (Figure
74). These panels are performing to let through view and air but to interrupt those bands of sunlight that
would otherwise strike the window-wall behind. This concept of sun shading arrangements could be
compared with the sundance concept incorporated by architect Paul Rudolph in his design of Sarasota
School in Florida. From a distant view this white stucco suspended shade creates an elusive representation
of rhythm of design elements.

Figure 74:St. Joseph Higher Secondary School

Source: Author’s Collection from RGB Associates Archive

85 |
 Figure 75: Existing View of the School (Left)
Figure 76:Open plinth on the south wing (Right)
Source: Captured by Author

4.1.2.2 Civil Engineering Faculty Building, BUET

Being the most prestigious Engineering University of Bangladesh, Bangladesh University of Engineering
and Technology (BUET) started its journey with the vision of eradicating crisis in engineering study and
training local experts in newborn East Pakistan. The history of this institution dates back to the days of
Dhaka Survey School which has its premises in Nalgola, Old Dhaka in 1876; established to train surveyors
for the Government of Bengal of British India. Over time this survey school transformed into the
Ahsanullah School of Engineering, which used to offer three diploma courses in Civil, Electrical and
Mechanical Engineering with the generous fund by the then Nawab of Dhaka. This institution shifted to its
current location in 1912. In 1947 at the end of the colonial period, this school was upgraded to Ahsanullah
Engineering College with four years of bachelor courses in Civil, Electrical, Mechanical, Chemical, and
Metallurgical Engineering (BUET, 2019). Lately, this institution promoted to the status of a university with
the name of East Pakistan University of Science and Technology to provide better facilities of research and
postgraduate programs. Ultimately with independence in 1971, finally this institution was renamed as
Bangladesh University of Engineering and Technology (BUET) and from then this institution has been
constantly leaving marks of excellence nationally-internationally with pride and prestige (BUET, 2019).

So, here we can find that civil engineering faculty is one of the oldest faculty of this university. To glorify
its academic status and to accommodate all the facilities needed to conduct study and training to the future
civil engineers, Louis Berger Engineers Ltd. Dhaka office was given the contract to build the appropriate
architecture for all these facilities and Architect Boughey was the captain of designing this giant academic
building.

Locating in the southeast quadrant of the main campus the civil faculty building, sprawled in the east-west
axis with a comparatively spacious footprint on each floor. Initially, this building was designed as a complex
comprising linear main academic block, a circular lecture theatre, and a rectangular structure lab. As the
design was profoundly changed about both site planning and internal planning, both the designed and
constructed consequences will be discussed here to clear some confusion related to the conflicting features
which were not in the main design. In the main design architect, Boughey wanted to create a complex within
a campus to enhance the facilities as well to signal a new approach in engineering spaces design. The three
blocks of the complex were designed to be approached by a colonnaded walkway, approached from the
north side from a very minimalistic P-shaped driveway (Figure 77, 80). According to the master plan, while
accessing the walkway, the circular lecture theatre would have been on the left side with its semicircular

86 |
lecture hall flanked by two ramps for pedestrians to proceed to the hall. A semicircular small service has
been added to facilitate the lecture hall users (Figure 77).

Original Ground Floor Plan of Civil Engineering Faculty Building BUET

Original First Floor Plan of Civil Engineering Faculty Building BUET

87 |
 Original Second Floor Plan of Civil Engineering Faculty Building BUET

Original South Elevation of Civil Engineering Faculty Building BUET

Figure 77:Original Plan and Elevation of Civil Engineering Faculty Building
Source: Drawings Prepared by Author

Figure 78:Existing view of Civil Engineering Faculty Building BUET

Source: Official Website of BUET (www.buet.ac.bd)

Similar to the original master plan, the main entry in the existing building has been designed from the north
side and then opened up in the double heightened lobby with a spacious L-shaped stairway leading from
the ground floor to the first floor. Just at the opposite of the staircase, a service block is located as per the
original design holding toilet, store and a core of elevator. This voluminous lobby is flanked by two open-
plan labs (Irrigation lab and Concrete material lab according to the original design). The full complex can
be seen as a composition of variant shapes or objects in the master plan, where the elements are being
arranged in an additive manner to the main academic block against the walkway. At the end of the journey
at the ground level, there was a rectangular structure lab in the original design, elongated in the east-west

88 |
axis but it was not constructed. In the originally designed part, there was also a Bitumen Lab and a Curing
lab at the east side of the academic wing but was not erected. The rarest additive elements in both eastern
and western sides are two fire stairs. On the south-west side, there was an iconic, circular in plan and
inverted conical- hourglass-shaped water reservoir designed but not materialized. Initially, in the design
there was a height and level variation in the west and east blocks of the academic mass; It was done probably
to emphasize the internal spatial character, but the existing building has seven stories continuing equally in
height both in east and west side (Figure 78). In the original design, there was a shift of void spaces on
every floor (Figure 78) which create a drama in the elevation treatment. The first four floors completely
accommodate the facilities for students like labs, classrooms, libraries, lecture rooms, general offices,
seminar rooms, conference rooms whereas the topmost floor is visually striking with the use of triangular
louvers. They were designed probably for segregating the horizontal band from the lower floors as a
response of different use since this floor holds the facilities assigned for teachers like separate teachers
room with three central voids in the roof on the circulation for clearstory daylight (according to the original
design).

Figure 79: Civil Engineering Faculty Building BUET

Source:Captured By Roufat Nahin Priota

In the original design, the second floor consists of a Hydraulic Lab and a double heightened Soil Lab to
support the curricular activities for studying civil engineering. From this level, the east and west wing of
the academic building is divided by two different levels to give the labs their needed height to accommodate
machines and other kinds of stuff (Figure 77). The third floor is comprised of classrooms and drafting rooms
having a void breathing space alternatively after a classroom or one drafting room. These breathing spaces
allow students to utilize these spaces for inter-class gathering and additionally these voids break the
monotony of long corridor leaving a glimpse of light in every pause (Figure 79). This character also adds a
special value in the elevation treatment enhancing the visual variety in the overall composition. The fourth
floor consists of general office, photogrammetry lab, conference room, seminar room, and a double
heightened public health room and library at two ends of the east and west side (Figure 77). The shifting of
references of voids in this floor from the previous one creates a compositional accentuation and enhance
the pictorial property. At the top level, the uppermost floor is fully dedicated to teachers’ facilities as per
design, but in existing conditions, this floor is situated on the fifth floor and an additional floor has been
added above this floor to accommodate the further need of the faculty.
The building has got its entire look from the rhythmic arrangements of the sunshades and louvers. The total
elevation can be divided into two visual properties. The long linear horizontal band of vertical louver which
crowns and define the top; while a systematic pattern has been created from the orderly arrangement of
shading devices on the lower floors. These sun shading opportunities lured architects into an exhibition of
architectural dance (Figure 80).

89 |
 Original Perspective view of Civil Engineering Faculty Building BUET

Original South and North Elevations

Figure 80: Original Perspective, South and North Elevations of Civil Engineering Faculty Building BUET
Source: Engineering Section BUET

Architect Boughey designed the structure logically and simply where columns are located at the outer line
of the plan contributing to the visual property as well as carrying the load. The full structure is composed
of reinforced post-lintel structure and non-load bearing brick walls to define outer boundary with the
internal spatial layout ((Figure 78, Figure 80).

90 |
Here in the original design, we can find a module of seven components comprising of an inverted U-shaped
horizontal sunshade extending from the floor level, a curtain-like drop wall acting as vertical sunshade to
cut the angled sunbeams from tropical scorching sun, a rectangular wall above lintel level, an extended
concrete lintel with a linear divider at the middle forming a T-shaped framing, glass panel in between
sill(Figure 80) level and lintel level, a concrete sill, a rectangular wall from sill level to floor level and
finally two vertical elements of exposed columns barricade the module boundary. This amalgamation of
nine element modules and its multiplied use creates a very systematic, methodical and rational order in both
the formal and spatial attributive character. The deep projection of the sunshade cuts sun and acts as
overhanging eaves which were very common in traditional buildings of this region (Figure 80). Simple
details like an intentional gap between column and arms of sunshade and the linear gap between the upper
face of the sunshade and projected balcony/roof emphasize on building’s visual clarity and formal crispness.
Although this building was almost shifted from its original design in the spatial layout and physical
appearance, some features of façade treatments and sun shading module reflects its originality and respond
according to the architect’s desire. Despite all these alterations, this building can be categorized as one of
the fewest large scale and interactive space contented building from the examples of the sixties.

4.2 Buildings with Congregational Spaces

4.2.1 BUET Gymnasium

Designing a large structure has been always a challenge, even the challenge excels when there is a
requirement of column-free large spanned spaces. Gymnasium, a sporting institution where indoor sports,
physical exercises, gymnastics takes place needs a space where multiple games or sports can be executed,
this activity space surely demands flexibility and openness in nature. Here comes the challenge for
architects to design and engineers to build it. Architect Boughey took this challenge and the result was
outstanding without any doubt. BUET gymnasium is playing a vital role in flourishing other extracurricular
activities for the students of this university. Not even as a sporting institution for its openness and large
accommodation, it provides spaces for many social and cultural events. In this sense, as an architecture’s
success lies in its various use depending on demand, this building could be identified as one of the
successful buildings in this whole campus (see appendix). BUET gymnasium is the only facility regarding
indoor sports for students on this campus; there is a basketball court, a running track around it and two
squash courts with the gallery.
This building is located on the south side of the boys’ hostel in the campus. With its unique physical
expression, it is easily recognizable from a rearview (Figure 81). Initially, when designed there were very
little developments surrounding this building and its gracious identity could be perfectly identified.
However, with the growing developments, this building is tending in submerging, although its physical
appearance and grandness declare proudly its self-identity even now.
As a response to the climatic considerations, the floor is elongated in the east-west axis to give the building
maximum exposure to the north and south side (Figure 82). Shorter East and West sides are completely
blocked with brick walls to protect indoor spaces from heat gaining. The airy indoor is kept by using jali or
brick screens on either side where the full wall was needed, but later these jalis or perforated walls were
replaced with the solid brick wall as post-operative alterations.

91 |
 Figure 81:View towards North Side Entrance, Gymnasium, BUET
Source: Author’s Collection from RGB Personal Archive

It is undoubtable, that the building has got its outlook with the true expression of its massive sine curved
beams that runs in the north-south direction, resting on two piers at the boundary of the building mass. This
gigantic beam concept was derived from the concept of bridge construction, as it was very unusual to build
such structure with no internal columns in the time of the sixties especially in this region. Visually the
building could be divided into three horizontal bands; one consists of the running brick wall, the second is
the depth of beam and the uppermost band is the white stucco parapet which perfectly crowns this structure.
Structural elements shape up the physical form of this building. The beams are so designed that their depth
varies according to the bending moment diagram of the loading of the roof slab. Columns on each side of
the mezzanine floor are braced with diagonal beams to strengthen the structure (Figure 83).
The building could be entered from three gateways; two from the north and south sides and a hidden entry
from the arm of the staircase wing. In the left of the entrance, there is a very congenial sized supportive
facility block where there are toilets, changing rooms and storerooms for instruments. Thoughtfully this
block is designed in a mundane way so to emphasize the main structure. Vertical circulation is basically
achieved by three staircases which are designed to be adjunct to the main mass as an additive element
(Figure 84, 85). These staircases are very unique in visual character creating a diagonal tunnel that opens
up at the mezzanine floor. This mezzanine floor hangs from the columns and creates a gallery to hold the
spectators. The inverted bracket like configuration of the combined seating-railing in the mezzanine floor
add extra value in the formal expression of this building and create a logical expression.

92 |
Ground Floor Plan

First Floor Plan

93 |
 North Elevation

West Elevation

Longitudinal Section
Figure 82:Plan and Elevation of Gymnasium, BUET
Source: Plans Prepared by Author, Elevation and Section prepared by Nayem Ahasan Srijon and Roufat Nahin Priota

Figure 83:View towards West Side, Gymnasium, BUET

Source: Author’s Collection from RGB Personal Archive
As architect Boughey mentioned,

“This is one of my favorite buildings. It is so simple and each element is clearly

expressed in its basic form. It was difficult to build so we used basic bridge technology
to overcome some of the structural problems. Materials are all local and used in natural
state. The beam is a sine curve used mainly in bridge. Cross bracing on wall needed for
wind load; louvers and grill on west and east for sun” (Boughey R. G., 2017-2020)

94 |
 Figure 84:View towards West Side, Gymnasium, BUET
Figure 85:Staircase mass(Right)
Source: Author’s Collection from RGB Personal Archive

Figure 86:Indoor main hall with clearstory

Source: Captured by Nayem Ahasan Srijon
The roof is folded outward on the edges that add a definition to its boldness. It is adorned with scooper ends
peeking out of the border fold of the roof. These scuppers easily drain rainwater from the giant roof.
Clearstory lighting from the gap below the roofline enlightens indoor spaces (Figure 86). To break the
boredom of a large surface and to reduce heat gain, the wall is ornamented by vertical fins on the western
and eastern outside (Figure 83).

95 |
4.2.2 Kamalapur Railway Station
Eastern Bengal Railway paved the connection between east and west Bengal by providing train service in
1862, connecting Kolkata with Kushtia and this initiative triggered a new phase in the growth of the colonial
economy (Mukherjee, 2012). Nevertheless, the eastern part bordered by the Padma river including the urban
centers Dhaka, Chittagong, and Sylhet remained deprived of the railway facilities due to the river
crisscrossed deltaic configuration of the country. Dhaka had only one connection with a northern town
Mymensingh till 1885. Despite being a provincial town, Dhaka had very limited railway infrastructure
facilities (Morshed & Nahar, 2017). At Phulbaria of Southern Dhaka, a railway station was constructed
with some primary facilities like a platform, a small yard and an engine shed (Morshed & Nahar, 2017).
This railway line formed a semicircular northern barrier of the city but this train track did not affect
vehicular traffic flow as the rush of traffic was very nominal at that time (Morshed & Nahar, 2017).

Eventually in the early twentieth century with the rise of Dhaka’s economy and especially it was remarkable
when Dhaka became the provincial capital of East Pakistan after the end of colonial rule in 1947. With the
development in the economy, there was a rise in the traffic flow also. The converging train lines in Phulbaria
affected the north-south traffic flow intensely (Map 06). This consequence signaled the concept of shifting
the station from this area to a relatively less congested area providing ease of vehicular movement (Morshed
& Nahar, 2017). Eventually, the experts proposed that the station could be in Kamalapur. This proposal
finally was materialized later in 1958, when the provincial government started to implement this plan. The
train line was detoured from Tejgaon to Khilgaon and then to Kamalapur, irradiating the hindrance in the
growth of the city (Morshed & Nahar, 2017). This initiative remarked a new chapter in the infrastructural
development history of East Pakistan. Not in the history of national development, this building also marked
a pioneering activity towards designing large canopy architecture in the architectural history of Bangladesh.

Louis Berger Engineers (PAK) won the contract to design the structure in 1961. Then the principal architect
of this firm was Daniel C. Dunham. Several design solutions were made before the final design was
accepted by the authorities (Islam R. , 2014). But the Railway Board looked for symbolic shapes that
represent traditional Islamic architecture rather than the solution that required flexible yet functional volume
(Islam R. , 2014). Along with this formal challenge the main big challenge lied in building a huge canopy
to hold such elaborative functional requirements and it was not less than an impossible job.
In this first scheme, the site plan displayed a two-story arrival hall, recessed courtyard with a clock tower
and an administrative building block (Figure 87). The rectangular bordered canopy roof of the hall was
comprised of vaulted segments running in the north-south direction (Figure 87, 88). The ground floor roof
was also crowned with an incorporated vaulted shape probably to break down the scale of the building
(Figure 88). The entry canopy featured two vaults with half vaults on ends to create a floating effect. It is
quite evident that this response through the use of vaults is surely has been made for the demand of railway
authority to represent an Islamic iconography. It was a common and popular practice in those days to add
representative shapes to facades to incorporate style and superficial ideas of Islamic identity (Husain, 2007).

96 |
 Map 06 : Map of Dacca made by Daniel Dunham
Source: Our House, In The Wake Of The Raj Our Life In Dacca 1960-1967, page 35

97 |
 Figure 87:First Scheme Master plan of Kamalapur Railway Station
Source: Daniel Dunham Pioneer of Modern Architecure in Bangladesh by Ar. Rafique Islam

Figure 88:First Scheme South and West elevation of Kamalapur Railway Station
Daniel Dunham Pioneer of Modern Architecture in Bangladesh by Ar. Rafique Islam

Although, the first scheme might have delivered an acceptable resolution but was vetoed by the then railway
authorities; probably the authority demanded to revise the functional requirements and a less rigid structure
to accommodate a change of functions (Islam R. , 2014). The later versions were more flexible in the space
allocation and also provided room to expand within the framework of the overall structure. It is also possible
that the requirement for the condition such a huge volume might have been proved impossible.

98 |
In further times, architect Dunham made several versions to allow more flexibility expanding under a fixed
structural framework, but the huge volume and spatial collaboration were proved to be very challenging
considering context and time (Islam R. , 2014). By reviewing an old note, it could be identified that architect
Dunham made a scheme among his several versions, which he named “dome umbrella scheme” with
pointed arch probably to represent a sense of Islamic identity (Figure 89) (Islam R. , 2014).
In the meanwhile, architect Dunham was appointed as a faculty member at the Department of Architecture,
EPUET (now BUET), so the assistant architect of Louis Berger Engineers (PAK) ltd Robert G. Boughey
was promoted to the position of architect Dunham and took the responsibilities of the chief architect.
Architect Daniel Dunham had immense faith and confidence in architect Boughey and thought him to be
the most appropriate among all to take the enormous responsibilities in designing further projects under this
consultancy firm. As architect Dunham mentioned in the letter to Dr. Louis Berger, Chief Engineer of Louis
Berger and Associates, “Mr. Jewkes and I agreed, I think that Bob (Boughey) would be quite capable to
heading the architectural department here. Bob has all the qualities necessary to keep the design and
production of drawings going smoothly and efficiently” (Figure 39) (Dunham & Dunham, 2014).
To avoid any kind of miscommunication and misconception, architect Boughey sent a handwritten letter
from Mymensingh Express to Mary Frances Dunham in 1962 knowing Dan’s decision to join the university
to teach. He wrote:

“Tell Dan that I hope Berger’s information is correct since I do not want you to feel
that while you are away, I am undermining his position. 2. Tell Dan, I reverted back to
the Dome Umbrella Scheme “for the railroad and with luck will get it approved by the
governor et al”. (Figure 89) (Islam R. , 2014)

Figure 89:Letter of architect Boughey to Mary Frances Dunham about his new position in LBG
Source: Daniel Dunham Pioneer of Modern Architecure in Bangladesh by Ar. Rafique Islam, pp. 86
Boughey thought to revert back to the “Dome Umbrella Scheme” with the tricky concepts. He developed a
modern and modular three-dimensional parasol roof with the “Dome Umbrella Module” from the two-
dimensional drawing that resembles pointed arch and that also suits the desire of a so-called Islamic identity
from the railway authority (Figure 90,91,92). As Boughey mentioned,

“Apart from the functional requirements, the strongest design requirements were the
practical aspects of building such a large project. There was also a concern to build this
large span structure and the suggestion of the authorities that it should have reference
to traditional Islamic architecture. There were quite a few about this aspect but we only
submitted one design which was readily accepted and the work progressed rather
rapidly as I remember. I believe that the acceptance of a somewhat contemporary
approach to the station complex was important in the development of the architectural
outlook at that time” (Boughey R. G., 2017-2020).

99 |
 Figure 90:Representation of ‘Dome Umbrella Concept’ in Elevation
Source: Source: Daniel Dunham Pioneer of Modern Architecture in Bangladesh by Ar. Rafique Islam, pp. 87

Figure 91:View from the south side, Kamalapur Railway Station

Source: Author’s Collection from RGB Personal Archive

Figure 92:Then Shelled Canopy

Source: Author’s Collection from RGB Personal Archive

100 |
 Figure 93:Local Construction technique using bamboo scaffolding and reusable molds
Source: Daniel Dunham Pioneer of Modern Architecture in Bangladesh by Ar. Rafique Islam, pp. 86

Figure 94:Railway Mail Sorting Office, Kamalapur Railway Station

Source: Author’s Collection from RGB Personal Archive

The main challenge lied in designing a parasol roof to accommodate the functional requirements at the
same time have the flexibility to adjust any change or shift. The main concept of this design was to create
a flowing structure with a grid pattern structural system as Architect Boughey mentioned,

“I remember that our main concept was to design an in depended flowing structure that
would be umbrella to whatever happened inside and a form that would be recognized
as a landmark. The forms are quite simple. Domes and arches on a 45 degree grid that
created the station profiles. The various and changing functional railroad support
facilities were placed in a series of separate buildings that did not touch the main
structure. These building spaces would be offices snack rooms etc. These independent
structures would be flexible depending on the shifting requirements while the main roof

101 |
 would remain untouched by any future changes (Boughey R. G., DACCA Railroad
Station, 2015)”

Figure 95:Ground Floor Plan , Kamalapur Railway Station

Source: Drawing prepared by Author and Nayem Ahasan Srijon

Totally unique from the visual perception the full complex of Kamalapur Railway Station incorporates
access roads, new railway lines, staff quarters, mail sorting office (Figure 94) and other facilities for the
passengers. There are 10 platforms, 11 booking counters and multiple waiting lounges for passengers. The
entire architecture of the terminal building is comprised of two systems: the parabolic roof structure above
and flat roof low rise structures below it. Ticket booking counters, waiting lounges, passenger lounges,
toilets, food corners are combined in low rise structures and lie beneath the super parasol roof. Very humble
in looking, these supportive facility blocks are arranged in linear form to facilitate users by providing
maximum efficiency with minimum circulation (Figure 95). Intentionally, these masses are kept unadorned
to emphasize the main feature of the station, the unusual concrete parasol roof of the terminal. The square

102 |
plan of the terminal includes six square bays on each side. The plan is very neat, leaving one bay
uninterrupted at the south to create access. While entering, this space seems to give an impression of a super
high scale arched gateway that welcomes passengers with the refreshing southern breeze. These experiences
are even more beautified with the glance of a lucratively scaled spiral stair at the southwest corner (Figure
96). Forty-nine columns are rising upward with a height of 17.98m (59 ft.) and support thirty-six cusped
shells in each square bay. The thin-shelled cusped modules were formed using reusable formworks and
bamboo scaffolding as supporting elements. The width of the columns gradually widens with the height
and splits into four segments that ultimately transform into four ribs that create the diagonal square grid to
support the roof system. Corresponding and repetitive arrangements of this diagonal ribbed module of the
structure create a rhythmic visual ambiance and contribute in stitching the spaces beneath it. The setting of
the whole terminal gives an impression of democratic and free-flowing public space. At the same time, this
piece of architecture is so coherent with our traditional concept of building and designing by considering
climatic issues. The roof creates an ambiance of traditional Moghul pavilion-like spaces where the core
functional areas are arranged below an open and heightened super roof to allow free flow of air (Figure 97);
at the same time, long projection of roof saves the spaces beneath from rain penetration. Low heightened
than the terminal roof, the long concrete vaults provide a continuous sheltered platform for the passengers
to get off or onto the trains.
In the time of the sixties and with a limited technological advancement regarding construction in a ‘Third
World’ country, the erection of the thin-shelled concrete canopy was not less than an impossible task.
Fortunately, Louis Berger Engineers (PAK) Ltd hired an experienced engineer, Mr. Stanley Jewkes, as a
chief Engineer who had a significant contribution in the constructional concept of Kamalapur Railway
Station. As architect Boughey mentioned,

“Luckily at about this time Mr. Stanley Jewkes who had recently retired from the
Malaysian public works department as its head was assigned as chief engineer of the
American parent company to spend some time in Dacca. He was an engineer well
versed in thin shell structures. He oversaw the structural design as he had recently
finished a few major concrete structures in Malaysia” (Boughey R. G., DACCA
Railroad Station, 2015)
To eliminate possible shortcomings, architect Boughey decided to erect the thin-shelled canopy in a scale-
down approach over the suburban station. The canopy has similar thin cusped shells with a reduced scale.
This construction made many clarifications in construction difficulties as an approach to a pilot project. As
Architect Boughey mentioned,

“Still there was some trepidation to construct this rather large structure which was
understandable in the 1960s in East Pakistan. To help everyone better understand the
complexities, I suggested that we design the suburban station as a reduced sized sample
of the main building. That seemed have worked” (Boughey R. G., DACCA Railroad
Station, 2015)
Finally, architect Boughey was successful in the interpretation of an outstanding super roof architecture
that holds several functions beneath its existence with the client’s happiness. Kamalapur Railway Station
is continuing to be a landmark even today with Dhaka’s thousands of growing structures; under its thin-
shelled concrete canopy many gypsies have spent their full life even with family!

103 |
 Figure 96:Spiral stair adjacent to entry (Left)
Figure 97:View Towards Access (Right)
Source: Author’s Collection from RGB Personal Archive

4.2.3 Rajshahi University Cafeteria

When any graduate from the Rajshahi University is asked, what was the most interactive space in the
campus, he/she generally mentions the name of the vast field in front of the statue of “Shabash Bangladesh”,
a memorial sculpture dedicated to the freedom fighters, long expanding central spine of the University
named as the “Paris Road”, the Zuberi House and at last the unique, relatively endearing in size the Central
Cafeteria! Cafeteria on any campus could be considered and marked as the heart of students’ interaction.
Being one of the largest campuses in Bangladesh, Rajshahi University is among a few designed university
with its 300 hectors site in this country. Under the consultation of Louis Berger Engineers Ltd., this campus
was designed by the first principal architect of this consulting firm Dhaka office, a Harvard University
Graduate Architect Daniel C. Dunham. As a consultation, he designed many of the buildings of this campus
like the central library, student and staff housing, guest house, etc. When he was hired as a faculty member
in the faculty of architecture in East Pakistan University of Engineering and Technology (EPUET), now
BUET, Architect Robert G. Boughey was hired in the place of principal architect and from then he continues
to design and execute further development under this consultancy service of this firm. As a result, both
Dunham and Boughey have design, supervision and execution contributions in this particular building.
Maybe this is the reason behind its importance in functional, cultural and formal appearance. As in the
discussion with Architect Boughey he shared,

104 |
 “I think that building was the first building I completed during my time there. I am still
amazed that it is still recognizable. What color is it? When it was built it was natural
brick. And a white structure. At that time using brick in its natural state was not very
common. It was designed to be very open as I think there were not even fans when it
was built, We used to fly to Ishurdi (spelling) by DC3 and then by jeep or van to the
site. It was a long journey” (Boughey R. G., 2017-2020)
This building is located in the eastern segment while entering the campus and the northeast corner of the
central language martyr’s memorial. Initially, the foundation was laid in this virgin site having trees without
relating any other existing or adjacent buildings. This freedom allowed the designers to think of this
building in an idiosyncratic way with a rectangular geometric boundary and having four equal squares at
the four corners to incorporate the support facilities. The modular appearance could also be seen from the
outside view. Both Dunham and Boughey have a fascination for folded plate architecture. And this example
could reflect this statement along with the example of Kamalapur Railway Station. Later when Boughey
was asked about his allure in designing folded plate architecture he shared some of his recent project
pictures with this type of roof. He said,

“At the time I designed the Cafeteria, there was a high import duty on steel shapes.
Only locally produced reinforcing bars were available. We wanted a column free space
so a folded plate was used since it was economical and at the same time and most
importantly very beautiful. I still am fascinated by thin shell structures. Enclosed is a
recent one (last month)” (Boughey R. G., 2017-2020)
Basically, the plan of the cafeteria could be identified as a juxtaposition of a rectangle, a square and a
hexagon at the center. This juxtaposition creates a pavilion-like interior space with a 6-segmented folded
plate (clearstory) roof at the center (Figure 98). The total building mass is designed with an elevation from
the ground level and placed on an overhanging plinth. This plinth level could be approached by a smart six-
step staircase and this stair lead the visitors from an entry court to the plinth level cafeteria floor. Rajshahi
city resides beside the major Padma River, probably this raised platform was designed to eliminate any
possibilities to be flooded in an excessive flood or rainfall (Islam R. , 2014). This opens up a very inimitable
and first-hand statement in the then design scenario among contemporary architectural examples.
The inner dining pavilion could be approached from the south and west side through shaded entrances. The
front-side entrance had built-in concrete benches to accentuate user participation. In the internal
arrangements of functions, there can be identified a simple clearance among the use of served and service
spaces. All the supportive services including dry kitchen, wet kitchen, staff dining room, tea room, store,
small office are designed to be resided at the four corners to easily dissipate any service (Figure 98). All
services are connected through a connecting corridor leading to veranda or porch at both entrances. The
spatial pattern could be compared with the pattern existed in the Moghul pavilions where the central court
or chamber is surrounded by the shaded corridor or verandahs, creating pavilion-like spaces, a time-tested
approach for designing in the tropical climate. The structural elements such as columns and beams are
expressed and exposed to a coherent logic of truthfulness. This character of expression gives his building a
totally distinctive outlook. The roof scuppers are integrated with the beams and bravely act as functional
essentials. The horizontal character yields by the use of concrete beam, sunshade and bands at the transom
level; the white stucco color segregate these elements visually from the decisive raw red brick in-fill walls.
The airy interior of the main dining room is enlightened with the clearstory, peeped from the 6-segmented
folded plate roof leaving triangular vertical aperture to penetrate light from each panel (Figure 99). The
appropriate use of vertical louvers in the western façade differentiates this elevation from the other three.

105 |
These fins create a texture combining window panels and louvers. In the front elevation, intentionally
pushed back middle void emphasizes the entrance (Figure 100, 101).

Plan of Rajshahi University Cafeteria

Elevation of Rajshahi University Cafeteria

Figure 98:Plan and Elevation of Rajshahi University Cafeteria
Source: Drawing Prepared by Author

106 |
 Figure 99:Top View (left)
Source: Drawing by Author
Figure 100:View towards the south side, Rajshahi University Cafeteria in the 1960s
Source: Author’s Collection from RGB Personal Archive (right)

Among many of the buildings from the sixties this building reflects a basic statement from the architects in
introducing small but intensely detailed architectural elements to collaborate and coherent with the climatic
demand. This building constantly supporting even today with its intuitive inner space and the surrounding
auxiliary spaces.

Figure 101:Existing view towards the south side, Rajshahi University Cafeteria
Source: Captured By Author
Figure 102: Rajshahi University Library
Source: Author’s Collection from RGB Personal Archive (right)
4.2.4 Other Contributions:
The facade of Rajshahi University Library was designed by Architect Boughey. He mentioned,

“I designed the elevations for the library at RU, the original plan and façade was
designed before I came to Dacca, but was not accepted for cost reasons” (Boughey R.
G., 2017-2020)(Figure 102)
There are some other projects which were not materialized for some practicalities and political issues. When
Boughey was asked about the projects which he started but has not finished, he shared some of his
experiences,

“….There was a proposed hotel in the tea-growing area of Sylhet. It was never built to
my knowledge and I have no drawings” (Boughey R. G., 2017-2020).

“….US Embassy in Dacca; about 1974-1975 Louis Berger Company was awarded a
design and build contract with RGB as the architect. The site was in front of the old

107 |
Shabagh hotel. The schematic drawings were submitted and approved, then the
Bangladesh government decided to build a diplomatic enclave and locate all Embassy
buildings there. This project was cancelled, and another site and Consultant were
chosen. The drawings are not publicly available. The new Embassy and location was
not designed by me” (Boughey R. G., 2017-2020).

“….On the site of the proposed former Embassy site, there was a plan for a new national
museum. I have a photo of a mass model. I don’t remember why it was cancelled nor
the exact dates. It was very short lived” (Boughey R. G., 2017-2020).

“…. Mymensing University. I remember working on a master plan and on some

preliminary drawings of dormitories and some housing. I believe that eventually quite
a few architects were involved in this campus at different times and I never followed up
after I left Bangladesh. I don’t have any drawings” (Boughey R. G., 2017-2020).

108 |
 Chapter 05: Identifying Physical and Spatial Attributes in the
Architectural Works of Robert G. Boughey in Bangladesh

“I prefer drawing to talking, drawing is faster and leaves less rooms for lies”- Le
Corbusier

Preamble
This chapter discusses the identification and categorization of fundamental design attributes in the local
works of architect Boughey based on the basic structure of a recognized tool. This identification explores
architect Boughey’s design considerations and how different attributes in his buildings have evolved.
This study will help in isolating tactical similarities of attributes in his manifested works and in defining
strategies he applied while designing. This chapter is the basis for analysis which will be done in chapter
06 and for finding the relationship between design attributes and evaluative criteria.

109 |
5.1 Architectural Attributes
An attribute is a quality or feature, regarded as a characteristic or inherent part of someone or something
(Attribute). Architectural attributes are the physical features of a building that expresses its formal-spatial
quality and defines the characteristic outline of a built form. Any kind of architecture is describable through
its language, and it is “drawing”. A single drawing can explain hundreds of words on a single page. As
architect Le Corbusier stated, “I prefer drawing to talking, drawing is faster and leaves less rooms for lies”.
The most effective way to understand an architectural attribute is by learning it through drawing and
sketching with clear perception.
With the increasing interest in learning about architectural history and historical evidence of architecture, a
clarified focus is needed in between how and what to study about history and the design approaches for a
particular architecture. For architects, it is important to know about the background, dates, names or style
of architecture but even it is more important to understand how this built-form has been formed; it is
extremely necessary to perceive its design process, relationship to site, physical-spatial attributes, and
design considerations, etc.
Twenty students of the School of Design, North Carolina State University with their mentors Roger H.
Clark and Michael Pause developed a diagram based method/tool in 1979 to systematically analyze the
works of precedent architects by which physical and spatial attributes of a particular building could be
identified in terms of elements, relationships and ordering ideas (Clark & Pause, 1979). Firstly this analysis
was done in the works of eight architects and later, this analysis was done in one hundred and four works
of thirty-one architects and published as a book named “Precedents in Architecture” (Clark & Pause, 2005).
This analysis helps become familiar with the initial study of architectural works. Here, diagrams focus on
particular physical attributes, so that comparison could be made in between attributes irrespective of style,
category, function or time. Diagrams are shown as simple, mono informative and less complex to convey
one specific feature per diagram.
Here, to identify physical and spatial attributes in architect Boughey’s local works, the above-mentioned
diagram based method has been applied where a set of issues has been selected from the eleven issues
mentioned in the book (Clark & Pause, 2005) and some are added, under which the attributes will be isolated
for further analysis. The selected issues are-
A. Orientation I. Unite to Whole
B. Structure J. Material Distribution
C. Served and Services K. Semiotic Dimension
D. Circulation L. Indoor-Outdoor Relationship
E. Geometric References M. Spatial Layering
F. Solid Void in Massing N. Natural Light and Air
G. Depth of Mass O. Shade from Sun and Rain
H. Formal articulation and visual composition
Table 3: Selected Issues under which attributes will be identified (Prepared by Author)

1. BUET Boys Hostel 6. Holy Family Hospital Nursing School

2. Priests and Seminarians Residence, NDC 7. Kamalapur Railway Station
3. Priests and Seminarians Residence, SJHSS 8. BUET Gymnasium
4. St. Joseph Higher Secondary School 9. RU Cafeteria
5. Civil Engineering Faculty Building, BUET 10. RU Library Facade

Table 4: The Architectural Works of Architect Boughey as case studies (Prepared by Author)

At first, the attributes have been identified from every case study, represented in the following long chart
(Chart 01) and then they have been discussed separately (Tables 5-19).

110 |
 ATTRIBUTES
CASE STUDY A B C D E F G H I J K L M N O
GEOMETRIC SOLID VOID IN DEPTH OF FORMAL ARTICULATION & UNITE TO MATERIAL SEMIOTIC INDOOR OUT SPATIAL NATURAL SHADE FROM SUN AND RAIN
ORIENTATION STRUCTURE SERVED & SERVICE CIRCULATION REFERENCE MASSING MASS VISUAL COMPOSITION WHOLE DISTRIBUTION DIMENSION RELATIONSHIP LAYERING LIGHT AND AIR
A B C D P F G Q H I J K L M N O
10'-0"
10'-0"

BOYS HOSTEL,
10'-0"

1
1'-0" 3'-5"
1'-0"

1'-0"
10'-6"

10'-0"
8'-6"

8'-6"
1'-6"

1'-6"

1'-6"

EAST ELEVATION ( HOSTEL BLOCK )

SCALE : 18 " = 1'-0"

BUET
SOUTH ELEVATION ( HOSTEL BLOCK )
SCALE : 18" = 1'-0"

Full elevation- Material Composition

A B
North &South Elevation East & West Elevation

PRIESTS AND

2
SEMINARIANS
RESIDENCE, A B

NDC South Elevation East & West Elevation

3 PRIESTS AND
SEMINARIANS
RESIDENCE,
SJS
South Elevation East & West Elevation

A B

Holy Family
Nursing School
4
A B
South Elevation East & West Elevation

(Hostel Block)
Ground Floor Plan

South Elevation

St. Joseph
Higher
5 Secondary
School
A B
South Elevation East & West Elevation

Civil
6
8 8 8 11

Engineering 1 2 3 4

9 10 10

Faculty 5

Building, A B South Elevation

Scale 0.75

BUET 1.
2.
3.
4.
Irrigation Lab
Lobby
CC Material Lab
Curing Lab
9. Geology Lab
10. Classroom
11. Soil Lab
12. Library
7
12 13 14 15 16

5. Bitumen Lab 13. Seminar

6. Lecture Theatre 14.Office
7. Structure Lab 15. Photogrammetry Room 14 10
8. Drafting Room 16. Public Health Room

7 BUET
Gymnasium
2
1

3
West Elevation

North Elevation

8 Kamalapur
Railway Station South Elevation

Rajshahi

9
8 4 5

University 2 1
3

West Elevation

Cafeteria 1.
2.
3.
8

Main Dining Hall

Verandah
Kitchen
7 6

4. Wash and Toilet

5. Kitchen Verandah
6. Dining Hall
7. Tea Room
8. Store

Rajshahi

10 University
Library Facade
111 /
Chart 01: Identification of Physical and Spatial Attributes in RGB’s Local works
**For better resolution please scan the QR code mentioned in the Appendix
A. Orientation: The term building orientation is generally used to refer to solar orientation while planning
a house concerning sun path. The orientation can refer to a particular room or most importantly, the
building facade. The word ‘building orientation’ is basically the positioning of a building with respect
to the sun, usually has been followed to maximize solar gain in the cold climatic zone, at the appropriate
time of the year and to minimize solar gain in a hot climatic zone. Best orientation can increase the
energy efficiency of a building by making it more comfortable to live in and cheaper in terms of energy
consumption.
In the following tables, alphabets A, B, C will represent issue/attribute and Numbers 1,2,3 will represent
the case studies in headings; here all drawings are considered with North in the upward direction.
Table 5: “Orientation” in the Architectural works of RGB (A-Case Study)
A1 (Orientation-Boys Hostel BUET)

 This building is elongated in East-West direction, maximum exposure has been given to North-South direction and all usable
spaces are directed in the direction of the prevailing wind.

A2(Orientation-Priests And Seminarians Residence, NDC)

 This building is elongated in East-West direction and maximum exposure has been given to North-South direction

A3 (Orientation-Priests And Seminarians Residence, SJHSS)

 This building is elongated in East-West direction and maximum exposure has been given to North-South direction

112 |
 A4 (Orientation-Holy Family Nursing School Hostel)

 This building is elongated in East-West direction and maximum exposure has been given to North-South direction
A5 (Orientation-St. Joseph Higher Secondary School)

 This building is elongated in East-West direction and maximum exposure has been given to North-South direction

A6 (Orientation-Civil Engineering Faculty Building BUET)

 This building is elongated in East-West direction and maximum exposure has been given to North-South direction

113 |
 A7 (Orientation-BUET Gymnasium)

 This building is elongated in East-West direction and maximum exposure has been given to North-South direction
A8 (Orientation-Kamalapur Railway Station)

 All low structure masses are located under a projected super roof, so those units are aligned according to functional necessity
irrespective of solar orientation.

A9 (Orientation-Rajshahi University Cafeteria)

 This building has almost similar exposure to the three of its four sides, more perforations in North, South and West sides but
West exposures are protected through louvers.
** All Drawings are prepared by author

114 |
Summary: Generally all the above-mentioned buildings are elongated in East-West direction (A1-A7)
while having the maximum exposure to North-South direction. All usable spaces are faced in the windward
direction to get the maximum benefits of daylight and ventilation; less heat gain is assured through the
shorter East-West sides. In congregational space buildings (A8, A9) length is almost the same on each side,
but the provisions of letting in air from the south to north are visible. This approach of designing could be
defined as a sample of his passive way of designing.

B. Structure
The structure is the basic support that exists in buildings to provide supportive strength, it is that significant
and inseparable element that acts as the skeleton of a building. No building could be imagined without the
incorporation of structure. A structure can be columnar, planar or a combination of both. Basically,
structural elements are composed in a building with a patterned and repetitive manner to avoid randomness
and to ensure regularity, equal frequency, and simplicity. Simultaneous to give support, structure act as to
define spaces, articulate circulation, guide in movement, create units or to make compositions or
modulations. Structure in a building is that particular attribute that helps in shaping up architecture and it
is considered logical when the architecture becomes attuned with the structure. (In the following charts all
drawings are considered with North in the upward direction)
Table 6:“Structure” in the Architectural works of RGB (B-Case Study)
B1 ( Structure_ Boys Hostel BUET)

 This building is composed of regular grid pattern structure and reinforced concrete post lintel system to support a flat roof

B2 (Structure_ Priests And Seminarians Residence, NDC)

 This building is composed of grid-patterned reinforced concrete post lintel system and load-bearing walls surrounding the
vertical circulations

115 |
 B3 (Structure_ Priests And Seminarians Residence, SJHSS)

 This building is composed of grid-patterned post lintel system and load-bearing walls surrounding vertical circulation as
shown in the drawing
B4 (Structure_ Holy Family Nursing School Hostel)

 This building is composed of orthogonal shear walls parallel to each other that fit in the span of a room and columns are
introduced when the larger span is needed.

B5 (Structure_ St. Joseph Higher Secondary School)

 In this building, post lintel reinforced concrete structure system governs; while some post supports are used in between
stairway and shear walls supports are used to support in toilet blocks.

116 |
 B6 (Structure_ Civil Engineering Faculty Building, BUET)

 This building is fully comprised of load-bearing reinforced concrete post lintel system where the brick walls act as an infill
to accommodate space within them and where vertical circulations are surrounded by load-bearing RCC walls forming the
core system, an essential element of any high-rise building.
B7 (Structure_ BUET Gymnasium)

 This building is composed of grid-patterned columns and beams; the inverted bracket shaped massive beams rest on
vertical piers at a regular interval to support this massive structure, similar to the structure of a bridge.

B8 (Structure_ Kamalapur Railway Station)

 The concrete thin-shelled dome roof is supported on regularly spaced columns with arched beams; these columns only
support the super roof.

117 |
 B9 (Structure_ Rajshahi University Cafeteria)

 This building is composed of grid-patterned RCC post lintel structural system leaving a hexagonal support free space at the
center above which the folded plate is rested.
** All Drawings are prepared by author

Summary: In the above-mentioned buildings, Structures are generally on a grid pattern and are composed
of either columns or beams (B1, B7, B8, B9) or load-bearing walls, columns and beams (B2, B3, B4, B5).
All elements are ordered systematically; they follow geometrical references and contribute in spatial
organization. No structural element is found randomly put without any references.
C. Served and Services
In a 1957 speech delivered at the Royal Architectural Institute of Canada, Kahn set out his concept of served
and servant space (Kahn & Latour, 1991). According to Kahn, service/servant paces are actually that
include the elements in which habitation is very limited or kind of impossible, or spaces that contain
mechanical survives or utilities that support a primary function. It can be a corridor, stairways, storage
rooms, service rooms, and toilets and or any secondary spaces. As circulation has considered as a separate
issue in this chapter, here horizontal circulation has been skipped. Service spaces are shown with hatch.
Table 7:“Served and Service” in the Architectural works of RGB (C-Case Study)
C1 (Served and Service-Boys Hostel BUET)

 Service spaces are intentionally designed; they are strategically kept at the center and both ends to maximize efficiency
while minimizing circulation from each served spaces.

C2(Served and Service-Priests And Seminarians Residence, NDC)

118 |
 Here, services are grouped to increased efficiency, placed at reachable distances, individual toilets are attached and
grouped in two with rooms; while two stairway’s individuality can be identified as separate vertical elements in the
elevation.

C3 (Served and Service-Priests And Seminarians Residence, SJHSS)

 Same as of C2, Services are grouped to increased efficiency, placed at reachable distances, while the staircase's
individuality is expressed separately.

C4 (Served and Service-Holy Family Nursing School Hostel)

 Services are placed in a manner that they can be easily accessible from the served spaces; they coincide with the
structural grid pattern without any incidental approach.

C5 (Served and Service-St. Joseph Higher Secondary School)

 Toilets are grouped and placed in a reachable distance while three stairways connect two wings at a regular interval,
these arrangements are appeared to be logical and ordered with the structural references.

119 |
 C6 (Served and Service-Civil Engineering Faculty Building, BUET)

 In this building services are grouped in a core comprising of elevators, stairway, separate toilets for men and women
and a store. The central location of the core provides strength to this building and there are two fire stairs at the rarest
eastern and western sides; all these arrangements follow the grid of structure and are placed in order.

C7 (Served and Service-BUET Gymnasium)

 In this building, the full-service block containing restrooms, toilets, changing rooms, guard rooms is separated from the
main mass and connected through a small passage. Three free standing staircases lead to the first floor. All these service
elements are arranged in an additive way leaving a clean, uninterrupted central served space.
C8 (Served and Service-Kamalapur Railway Station)

 Intentional grouping of services in lower blocks beneath the super thin-shelled roof can be identified here; leaving no
spaces for confusion the public stair is designed in between the junction of masses and at the south-western open end.
The clean arrangement of served and services is clearly visible despite having such a large scale structure.

120 |
 C9 (Served and Service-Rajshahi University Cafeteria)

 Group of services like kitchen, toilet, staff tea room are linked with central served dining space with a connecting
verandah, very clear separation in between served and service is visible.
** All Drawings are prepared by author

Summary: In every building both the served and service spaces are clearly defined, there is no evidence
of any incidental approach while designing service spaces, rather their location, position, scale, and access
are very logically handled. In every case services are articulated within structural boundaries and references.
In formal expression, service blocks are similarly treated as vertical circulation (B2, B3, and B6).

D. Circulation
Circulation is the pathway or route that takes people through and around a building or an urban space.
Circulation spaces sometimes coincide with main served spaces or sometimes it connects one space to
another through feeding (Ching, 2007). While a long unending corridor can be considered as a circulation,
a short narrow passage that connects one room to others can also be termed as circulation. Circulation
depends on its use and direction. In respect to direction, circulation is of two types, horizontal and vertical
while depending on use circulation can be categorized as public and private circulation. Basically,
horizontal circulation includes corridors, hallways, entries, atrium, lobbies, etc. while vertical circulation
confirms one movement through z-axis like stairway, elevator, ladders, escalators, etc. Public circulations
often comprised of lobbies, atriums, gallery, terminals, etc. where crowds move and where visibility and
openness is a prime concern. On the other hand, private circulation could be comprised of balcony,
verandah, private passageway where users are limited and a certain degree of privacy needs to be
maintained. Circulations must be clear and unobstructed as it ensures peoples’ movement. It is said that
shorter circulations impact positively on movement. But it is also true that in architecture circulation spaces
can be as special as any served spaces, they can be designed to add positive and potential value to other
spaces, rather than just performing as a route. Especially when it comes to the point of designing dormitory,
hospitals, schools, hotels, etc. with multiple dwelling and usable units, effective designing of circulation
changes the whole environment. The sequence of spaces is a major fact while designing any circulation
(Circulation, 2015-2018).

121 |
 Table 8:“Circulation” in the Architectural works of RGB (D-Case Study)
D1 (Circulation -Boys Hostel BUET)

 There is a linear circulation space on either side of central vertical circulation, but one side is used as a circulation
corridor while the other side is used as a balcony adjacent to each room. There remains clear segregation between the
served and service (circulation) space.

D2(Circulation -Priests And Seminarians Residence, NDC)

 Here circulation spaces are rerouted after a certain interval perhaps to break the monotony of long endless corridor; It
also provides a sort of visual and physical privacy in spaces and the vertical circulations are logically placed in
reachable distance from both the served and service spaces.

D3 (Circulation -Priests And Seminarians Residence, SJHSS)

 Same as D3, the Circulation corridor is rerouted when there is a change in the scale of usable spaces. Every room can be
reached from the corridor and the notch in the corridor perhaps collaborate with the idea of providing privacy and
isolation.

D4 (Circulation -Holy Family Nursing School Hostel)

 To break the visual and spatial monotony of users, the architect redirected the corridor. Dwelling units or rooms in both
east and west direction shares same corridor alignment, where the common facilities like dining space, mother room,
and the kitchen are in the middle is slightly stepped backward to create a hierarchy in plan layout as well as to promote

122 |
 a cozy intermediate space in between the legacy of rooms. Vertical circulations are placed in a reachable distance, one is
adjacent to the entry and the other is in the rarest eastern side to perform effectively.

D5 (Circulation -St. Joseph Higher Secondary School)

 Linear circulation in both north and south wing, facing towards the courtyard and connected by three vertical
circulations at a regular interval. To twist the boredom of linear passageway, at a certain interval there are semi-outdoor
spaces or verandahs in between classrooms that act as breathing spaces or interclass small gathering spaces, these spaces
generally are encouraged to design, considering the mental development of children.

D6 (Circulation -Civil Engineering Faculty Building BUET)

 In this building, the alignment of circulation space is altered in the alternate floor to introduce breathing spaces after two
consecutive rooms and the alteration in floors creates a rhythm in the elevation too.

D7 (Served and Service-BUET Gymnasium)

123 |
  Here, the peripheral circulation spaces ensure an uninterrupted flow of served space at the center and at the first-floor
level, the circulation also acts as gallery spaces. Here we can find a different approach and dimension of designing
circulation.

D8 (Served and Service-Kamalapur Railway Station)

 In this station building complex, the circulation is sprawling; it holds the served space masses to accommodate a huge
crowd from the arrival to departure zone. This open, free-flowing circulation is used to hold the queue of passengers as
well as passengers’ movement and with shades from the super parabolic roof, a comfortable environment has attempted
to create. This building reminds us of the open planned pavilions of the Mughal Empire.
D9 (Served and Service-Rajshahi University Cafeteria)

 A continuous verandah connects the inner main dining space with the other service/served spaces. The separation between
served and the service or circulation space is very clearly defined. This verandah like spaces also acts as gathering spaces
for the students.
** All Drawings are prepared by author

Summary:
Circulation routes are clearly articulated and separated from useable spaces. In maximum cases, Horizontal
circulation coincides with the geometric organization of built form (D1-D9), Vertical circulations are
clearly identifiable (D2, D4, D6). Circulations are mostly linear in cellular academic and residential space
buildings (D1, D2, D3, D4, D5, D6); whereas in congregational buildings they are sprawled (D7, D8) and
concentric circulation is found in D9.

124 |
E. Geometric Reference:
Geometry which is basically is the branch of mathematics dealing with the size, shape, configurations of a
figure and has an age-old connection with the form space and order of architecture. As Vitruvius mentioned,
“Architects should be educated, skillful with pencil, instructed in geometry, know much history”
(Vitruvious & Morgan, 1960). Geometric references enhance the property of architectural form and
contribute in structural references. The notion of proportion and scale also complies with geometric
references. From the ancient period to the modern and contemporary period, architects are seen to follow
the order and geometrical references in their architecture, for instance, the Greek temple Parthenon is based
on the harmony and proportion of classical order. Even Vitruvius’s golden section to the modernist architect
Le Corbusier’s designs all these comply with the proportion and scale following geometry. Geometry is
cohesive with the idea of logical sequence, the logical sequence and rationality is the prime concern of
modernist idea, hence geometrical references is considered as one of the prime attributes of modern
architecture.
Table 9:“Geometric Reference” in the Architectural works of RGB (E-Case Study)
E1 (Geometric Reference-Boys Hostel BUET)

 The plan layout expresses rectilinear geometry comprised of rectangular compartments, the outer border can be
expressed as an approximate interpretation of rectangles of Palladio’s 1:1.414 ( diagonal of the square) ratio leaving two
setbacks at west and east end and it is expressed as circulation in the plan layout. The central uninterrupted rectangular
is defined as vertical circulation.

E2 (Geometric Reference-Priests And Seminarians Residence, NDC)

125 |
 Although apparently seen as a combination of rectangular compartments, this plan layout is composed of a shuffling
composition of squares that borders two rooms and circulation in front of it. The sequential staggering of squares creates
harmony and rhythm in layout.

E3 (Geometric Reference-Priests And Seminarians Residence, SJHSS)

 Basically, rhythmic composition of multi-sized squares frames the plan layout where the elevation is governed by the
harmony of vertical and horizontal lines with a hierarchy of circles that is framed by the arches.

E4 (Geometric Reference-Holy Family Nursing School Hostel)

 The plan layout is composed of a progression of consecutive squares, relatively less rhythmic and comparatively more
static in composition from the previous examples. Similar to the example of E3, the elevation is composed of horizontal,
vertical and arc lines.

126 |
 E5 (Geometric Reference-St. Joseph Higher Secondary School)

 The plan layout is composed of simple arrangements of same-sized squares leaving a regular interval in between them;
all these squares are aligned with respect two-three reference lines running towards north-south axis hold vertical
circulations and the other three reference lines progress in the east-west axis.
E6 (Geometric Reference-Civil Engineering Faculty Building, BUET)

 The plan layout is composed of a combination of three squares and two 1:1.414 rectangles. In site plan there remains a
composition of this linear rectangle with another rectangle and two circles, one as the driving way and another is lecture
hall (unbuilt).

E7 (Geometric Reference-BUET Gymnasium)

 A simple combination of a square and 1:414 rectangle, together forming a rectangle in plan layout

127 |
 E8 (Geometric Reference-Kamalapur Railway Station)

 The parabolic super roof is comprised of forty-nine equal-sized squares which are also divided into four right triangles.
This full combination forms a grid-patterned folded plate roof beneath which all kinds of functions related to railways
services are performed. Basically, this roof is totally a representation of order, harmony, and synchronization in the
structural and building fabric elements.

E9 (Geometric Reference-Rajshahi University Cafeteria)

 Basically, the full plan layout could be identified as a basis of a large square divided into four equal squares at the four-
quadrant, a larger square at the center which is later juxtaposed with a hexagon at the center. Equal squares are divided
into four squares and to accommodate function the four-quadrant squares are slightly closed up leaving the central
hexagonal spaces to be used as the main dining hall while other smaller squares to be used as support functions.

** All Drawings are prepared by author

128 |
Summary: It has been seen that there is a tendency of using geometry in its pure shape in architect
Boughey’s design of plan layout and elevation. In both cellular and congregational space buildings, it has
been found that rectilinear forms or rectangles composed of multiple squares and rectangles are used in
maximum cases (E1, E2, E3, E4, E5, E6, E7, E9); some are compositions of squares in a rhythmic
manner(E2, E3, E4). These repetitive units are sometimes shifted from the main axis to create hierarchy
and break the monotony (E2, E3, E4). In academic buildings, cellular units are mostly squares (E5, E6),
whereas in congregational space buildings grid-patterned geometry can be found (E8, E9). In every case,
not a single line is designed without geometric grid or references and each building can be seen as a whole
unit of different geometric shapes and modules.

F. Solid Void in Massing

A volume could be in the form of either a solid where space is evacuated by mass or a void, where space is
confined or surrounded by planes. Solid-void exercises are thus initial phases of designing spaces in an
abstract manner, not as signs of spaces to be experienced in the psychophysical environment but as voids
on a one-to-one scale, as they are. “My perception is not a sum of visual, tactile, and audible givens. I
perceive in a total way with my whole being; I grasp a unique structure of the thing, a unique way of being,
which speaks to all my senses at once” (Ponty, 1964). Thus, what serious in solid void exercises is not to
generate distinct solids and voids, but to design the whole form, which should be observed as a unity. Three-
dimensional design via the formation of volumes is vital in Basic Design education, since it traces to the
design of spaces in the succeeding steps of curricula, whether in architectural or urban. (Solid part is expressed
with black and void is expressed with diagonal linear hatch)

Table 10:“Solid and Void in Massing” in the Architectural works of RGB (F-Case Study)
F1 (Solid Void in Massing -Boys Hostel BUET)

 In this building, the central repetitive rooms represent solidity whereas peripheral circulation corridor and verandah act
as void
F2(Solid Void in Massing -Priests And Seminarians Residence, NDC)

Layer 1

Layer 2

Layer 3

129 |
 When sectioned consecutively in the longitudinal direction, the staggering composition of masses creates a degree of
solid void relationship in between them. we can find graduation of voided to solidity in massing towards the inner part
of the building; at the same time, some lower-level voids continuously contribute to maintaining the flow of voided
spaces.
F3 (Solid Void in Massing -Priests And Seminarians Residence, SJHSS)

Layer 1

Layer 2

 Similarly, when sectioned consecutively in the longitudinal direction, graduation of solidity could be found but the
rhythmic configuration of massing and its position helps to define intermediate void spaces in between them.

F4 (Solid Void in Massing -Holy Family Nursing School Hostel)

 Relatively less staggered than F2 and F3, when sectioned centrally in the longitudinal direction both eastern and western
sides are flanked by solid masses leaving a courtyard-like void in the middle which is surrounded by two semi-outdoor
corridor spaces.

F5 (Solid Void in Massing -St. Joseph Higher Secondary School)

 Systematic alteration of solid and void could be seen in the running building; a proportioned intermediate verandah after
two consecutive classrooms creates voids and these voids act as the breathing spaces for the students as well as
contribute in the visual dimension of elevation composition.

F6 (Solid Void in Massing -Civil Engineering Faculty Building, BUET)

 To break visual monotony in the composition and to reduce the lack of double bay corridor intermediate pocket spaces
were introduced to facilitate in functional as well as aesthetic requirements.

130 |
 F7 (Solid Void in Massing - BUET Gymnasium)

 To coordinate with the functional demand, this building needs to hold a huge functional space by peripheral solid walls
and a massive roof at the top. So when looked from a distance the most prominent feature which is visible is its
massiveness and monumentality. But the architect has lifted up the thick roof leaving a running void through the depth
of beam to slightly lighten this solidity.
F8 (Solid Void in Massing -Kamalapur Railway Station)

 The over-head sprawling super roof keeps ground and ceiling untouched and interrupted by any solid elements. To hold
some functions, some low rise structures are not connected to the roof but help in maintaining the flow and continuity of
voided spaces throughout the station complex.

F9 (Solid Void in Massing -Rajshahi University Cafeteria)

 Leaving a central pavilion-like void space, this building act as an open box that is combined with some solid walls in the
periphery. These walls never interrupt in the openness of this mass, whereas the folded plate roof adds another
dimension in the concept of solid-void relationship by rhythmic alteration of perforation and solidity.

F10 (Solid Void in Massing -Rajshahi University Library Facade)

 To collaborate in between internal functions, external outlook and to enhance the purity of its function, the architect
creates a relatively solid middle band whereas the upper and lower band of the elevation are lighter. However, the end is
topped by a thick bordered roof that again contributes to the purity and clarity of the library mass.

131 |
Summary: It has been seen that in residential building masses (F2, F3, F4) voids are placed in a staggered
manner except for F1; firstly to coherent with the internal functions, secondly to create an additive or
subtractive dimension in overall massing and thirdly but very significantly to enhance the provision of
mutual shading in between the masses. Whereas in the institutional buildings alternative allocation of solid
and void composition could be found where voids act as breathing spaces for the students to enhance the
possibilities of lateral learning. In congregational space buildings, the solid void relationship is derived
from its functionality; in open-plan spaces (F8, F9) the flow of void has given priority over solidity and
whereas in F6, F10 more solidity could be found in massing concepts.
G. Depth of Mass
The subtraction and addition of masses in a whole mass or form create depth of mass in the whole
composition of forms. This depth of mass contributes to mutual shading, enhances visual properties and
acts as an effective way to reduce heat gain as the projected mass cast shadow on the face of backward mass
and automatically this alteration break a long or broad façade into small segments.
Table 11:“Depth of Mass” in the Architectural works of RGB (G-Case Study)
G1 (Depth of Mass-Boys Hostel BUET)

 In this building, the enlarged and extended upper mass overshadow lower floor and visually segregate ground floor from
the upper three floors

G2(Depth of Mass-Priests And Seminarians Residence, NDC)

 The to and fro of unit masses contribute in mutual shading, breaks visual monotony and above all, it creates a certain
degree of visual privacy from one room to another which ultimately results in a rhythmic composition of modular masses.

G3 (Depth of Mass-Priests And Seminarians Residence, SJHSS)

132 |
 Similarly, as the composition explained in G2, the to and fro of the individual vertical bay creates a pattern as well as
affirm shading with some degree of visual and spatial privacy.
G4 (Depth of Mass-Holy Family Nursing School Hostel)

 In this building, there remains a relatively less hierarchy in the depth of mass than explained in of G2, G3. Significantly
the middle of the mass is pushed backward to create an in-between courtyard. The most forwarding masses are for vertical
circulation; probably this hierarchy designed this way to help in defining functions and to emphasize verticality.

G5 (Depth of Mass-St. Joseph Higher Secondary School)

 Here the masses have two degrees of depth; the outline of in-between breathing spaces is intelligently kept in a backward
alignment to emphasize its function and to give the impression of a volumetric void.

G6 (Depth of Mass-Civil Engineering Faculty Building, BUET)

 Here in this example, bold segregation in the masses according to its function could be identified. In the middle vertical
circulations and services are combined in a core and expressed as an individual mass having setback on both sides to give
visual property in the running elevation. As a whole, this building expresses solidity, where the depth of masses is
comparatively less visible.

G7 (Depth of Mass-BUET Gymnasium)

 Relatively less depth of masses identified in overall form; vertical circulations are added with the main form which
results in defining visual depth in the whole composition.

133 |
 G8 (Depth of Mass- Kamalapur Railway Station)

 The alignment of the super roof creates a frame in which the low rise structures sit inside and the to and fro of these
masses add a dimension in visual properties without hampering the flow of spaces in between them.
G9 (Depth of Mass- Rajshahi University Cafeteria)

 To give hierarchy and to emphasize the function of the central dining hall, it is positioned in a way that one has to cross
the peripheral circulation space to enter this cocoon-like space. By the H shaped configuration in the plan helps in defining
the depth of mass, where the central mass is pushed back and both sides’ arms are firstly visible to a viewer. This concept
again helps in mutual shading and creating semi-outdoor spaces surrounding the central hall to provide comfortable spaces
to the users which are a traditional way of designing for the areas in a tropical climate.

G9 (Depth of Mass- Rajshahi University Library)

 The middle band and thick parapet of roof define the depth in massing. The extended roof cast a deep shadow in
between the middle band and roof parapet whereas the middle band cast a deep shadow in the lower band of walkway.
So here the depth of mass is portrayed by the subtraction of masses in the lower and upper band to provide the provision
for shading and not directly expose to the outer glaze.

** All Drawings are prepared by author

Summary:

It has been seen that the depth of mass is prominent in the modular concept in residential buildings (G2,
G3, and G4). The vertical segments create a rhythm and enhance the provisions of mutual shading by
breaking a long mass in relatively smaller units. This approach helps not only as a dimension in visual
property rather it confirms a certain degree of physical comfort for the user by reducing heat gain. Whereas
in institutional cellular spaces (G5, G6), depth of masses is bold and limited, bearing in mind about the
configuration of built form and dimension of spaces in addition to the user's comfort. In congregational
space buildings depth of masses are mainly governed by the roofline, where a horizontal band of super roof
tends to hold other bands of masses or modules beneath it and their internal position creates a depth in
between them to propagate the concept of depth of mass.

134 |
H. Formal Articulation and Visual Composition

As Ronald Arheim explained in his book ‘The Dynamics of Architectural Form’, “Nothing but confusion
can result when order is considered a quality that can equally well be accepted or abandoned, something
that can be forgone and replaced by something else. Order must be understood as indispensable to the
functioning of any organized system, whether its function is physical or mental. Just as neither an engine
nor an orchestra nor a sports team can perform without the integrated cooperation of all its parts, so a
work of art or architecture cannot fulfill its function and transmit its message unless it presents an ordered
pattern. Order is possible at any level of complexity: in statues as simple as those on Easter Island or as
intricate as those by Bernini, in a farmhouse, and in a Borromini church. But if there is not order, there is
no way of telling what the work is trying to say” (Arheim, 1977). Formal articulation and visual composition
refer to a geometric basis for organizing forms and spaces in a built-form. Order in architecture not only
denotes geometric uniformity rather than a condition where every part of an entire object is appropriately
prepared concerning other parts and to its function in order to create a cohesive arrangement. Form, spaces
and visual composition of a building need to acknowledge the integral hierarchy in the activity they
accommodate and the provisions they address. Organizing without diversity and hierarchy can produce
visual and spatial tedium. A sense of uniformity, a mixture of variety and a cohesive organization is the
ideal way of ordering formal elements in architecture. Axis, symmetry, hierarchy, rhythm, datum,
transformation, etc. are the principles to be considered while ordering architectural elements, defining
formal articulation and identifying visual composition (Norberg-Schulz, 1971 ).
Table 12:“Formal Articulation and Visual Composition” in the Architectural works of RGB (H-Case Study)
H1 (Formal Articulation and Visual Composition-Boys Hostel BUET)

 The building form is composed of an elongated mass that can be divided into two segments or bands, the upper band is
over hanged upon the lower mass, and both masses clearly run towards east-west direction without any interruption.
This articulation can be compared with the concept of the box on a box. This example complies with the principles of
axis, symmetry, and rhythm.

H2 (Formal Articulation and Visual Composition -Priests And Seminarians Residence, NDC)

 The full built form can be seen as a composition of modules where the unit of one room and its verandah create a single
module. This module projects between vertical masses services and circulation. These projections all together create an
effect of to and fro of elements and give an interesting visual property to this building. The alternative repetition of the

135 |
 module creates a visual rhythm and vertical fixed forms act as a datum that denotes a basic reference from which
modules are added or subtracted.
H3 (Formal Articulation and Visual Composition -Priests And Seminarians Residence, SJHSS)

 Here the building fabric is comprised of vertical panels to reduce the effects and boredom of horizontality. To clearly
segregate each and every panel, architect exposed columns as vertical lines rather submerging them into panels.
H4 (Formal Articulation and Visual Composition -Holy Family Nursing School Hostel)

 Similar to the concept explained in H3, this built-form fabric also comprised of vertical panels; the consecutive placement
of these panels creates a pattern in the elevation. To segregate each panel, the architect exposed all columns in between
panels rather than blending them. Vertical circulations are boldly visible by different façade treatment; each vertical panel
is comprised of arched drop wall and two rectangular drop wall-railing combination, here again, to break horizontality a
T shaped divider has been introduced in the center of each panel. The roofline is very interesting containing total of 20
broken lines leaving small setbacks in between them. Among them sixteen lines are horizontal and the rest four lines are
inverted arcs. The inverted arcs and the two masses of vertical circulation break repetitiveness and create a hierarchy in
the roofline as well as visual composition.

H5 (Formal Articulation and Visual Composition -St. Joseph Higher Secondary School)

 The formal articulation here is identified by the consecutive placement of four square modules in the lower and upper
band and this eight-unit module repeats again leaving an intermediate gap which is actually the breathings spaces. With
the repetition and echoing of modules, the full elevation and formal outlook are erected. Modules are comprised of
rectangular drop wall-railing combination similar to the type explained in H5. To break the horizontality and to tie up two
columns a T shaped divider has been introduced in the middle of the module; in spite of exposing columns, beams are
exposed here and create an effect that all elements are suspended from beamlines. This configuration creates an effect of
lightness in the grid structure and rigid formal expression. Simple order with rhythm against one linear axis accentuates

136 |
 this building’s visual property. A significant rectangular void in a regular interval puts the hierarchical rhythm in the
visual composition

H6 (Formal Articulation and Visual Composition -Civil Engineering Faculty Building BUET)

 Here, the building form can be divided in three-part; eastern and western wing with similar treatment and the compact
core of vertical circulation and services. Verticality is expressed in the central core system and fire stair masses at the two
rarest ends, whereas modular driven horizontality could be found in the eastern and western wing. Visual composition in
the modules is derived from functionality. Façade of classrooms and labs has been treated with projected segmented roof
holding rectangular drop wall, solid brick wall till the sill level, glazed windows and a T shaped combo of lintel and
divider in the window panel. Intermediate breathing spaces or void spaces has a hollow square frame to help in recognizing
these spaces. To give a definite crowning, the eastern and western wing is topped with louvered panel modules, this
change reflects internal functional change whereas the left most and right most modules remain similar to that of other
modules. Two vertical circulations are added at the rarest point, these additions again turn the boredom of horizontality
and help in defining the outline of the whole composition in elevation rhythmically.

H7 (Formal Articulation and Visual Composition -BUET Gymnasium)

 When looked from a distance, this building portrays a scale that is monumental and voluminous. Definitely from the
pattern of structure to the façade treatment, everything is very unusually done in this building. Building shape, form and
configuration is undoubtedly derived from the very uncommon beams and bracket shaped solid mezzanine floor holding
the seats for the spectators. The building is topped with a high parapet roof to thick the border of the roofline and maintain
solidity; rain spouts are added to the edge of the roof that also expresses functionality. Vertical circulations are added with
the main mass in an additive manner. East and west walls are intentionally kept blank to emphasize the other sides. The
overall full built form represents uniqueness, innovation, and functionality that ultimately contributes to the aesthetical
enhancement of formal and physical properties of this building.

137 |
 H8 (Formal Articulation and Visual Composition -Kamalapur Railway Station)

 Umbrella-shaped repetitive modules collectively form a parabolic super roof that defines the skyline, this pattern is so
eye-catchy and innovative at that time that this composition governs the full built form and outlook of the station
complex. This physical property has given this building an iconic image that can be identified from a rare view in the
skyline of the city.

H9 (Formal Articulation and Visual Composition -Rajshahi University Cafeteria)

 Almost ground touched single floored building is distinguished for its homely scale, slightly elevated floor to prevent
water penetration and a unique crowing with folded plate roof over the main dining hall at the center.

H10 (Formal Articulation and Visual Composition -Rajshahi University Library)

 This building’s form is articulated by the prominent middle band, topmost roofline and some vertical column lines. This
configuration again can be compared with the concept of juxtaposed boxes that can be seen in H1.

** All Drawings are prepared by author

Summary: It has been seen that in maximum cases architect tends to design with a modular approach,
where a whole mass or unit have been scaled down to relatively smaller, graspable and easily erectable
modules. In residential cellular space buildings (H1, H2, H3, and H4) square modules or vertical panel
modules are seen. A similar modular approach in formal articulation has been seen in the institutional
cellular space buildings (H5, H6). In residential and institutional cellular space buildings (H1-H6) façade
or outlook is derived basically from the characters of shading devices (sunshade, drop wall, louvers, railing,
etc.), beam-columns lines and outline of vertical circulation mass. Mainly modules are composed of drop
wall projected from the roof or suspended in between beams, T shaped dividers, railing in reference with
the drop wall or combined with drop wall. Vertical panels are mostly separated from one another by
exposing column lines. In congregational buildings (H7-H10), the built form is mainly articulated by the
properties of the roof structure, mainly by the super roof. Each roof is unique as an attribute but has a similar
monumental scale and proportion that goes with the purpose of the space.

138 |
I. Unit to Whole:
Module or unite to the whole concept stand with the idea that any object has a unit or module; by the
repetition, multiplication, and aggregation of modules a whole object could be defined or created. The most
direct relationship between a unit and a whole object remains when they are equal to each other. Modules
or units can be anything from a piece of brick to a full mass of any object or building. In the maximum case
structural grid has been taken as the building module. Other categories of units or modules include
geometrical reference, structural element, spatial units, a volumetric module in space, etc.
Table 13:“Formal Articulation and Visual Composition” in the Architectural works of RGB (H-Case Study)
I1 (Unit to whole-Boys Hostel BUET)

 Here modules can be found separately in elevation and plan. Plan can be seen as an aggregation of room units,
While elevation is comprised of modules containing railing, lintel, rain downspout, and exposed beam.

I2 (Unit to whole-Priests And Seminarians Residence, NDC)

139 |
 Similar to the concept explained in I1, here rooms are acting as modules in the plan. In elevation, the façade treatment
comprising of drop wall on projecting verandah, railing and exposed beams create an individual unit, which creates the
whole form by rhythmic repetition.

I3 (Unit to whole-Priests And Seminarians Residence, SJHSS)

 Here again, the rooms act as a module in plan whereas, in the elevation, a definite module holding drop wall- sunshade,
railing, a T shaped divider and lines of exposed columns all-together create full façade of the whole mass.

I4 (Unit to whole-Holy Family Nursing School Hostel)

 Similar to the previous example, here rooms act as a module in plan whereas, in the elevation, a definite module holding
arched shaped drop wall sunshade, railing, a T shaped divider and lines of exposed columns all-together create full façade of
the whole mass.

140 |
 I5 (Unit to whole-St. Joseph Higher Secondary School)

 Basically, we can find the classroom as a spatial module in plan layout arrangements and in elevation, modules containing
drop wall shading device, exposed beam, railing, and a T shaped divider are repeated to create a full façade.

I6 (Unit to whole-Civil Engineering Faculty Building BUET)

 Here structural grid defines the outline of modules in play layout whereas elements of sun shading like drop wall projected
sunshade, railing, T shaped lintel and dividers confined the outline of unit or module in elevation.

141 |
 I7 (Unit to whole-BUET Gymnasium)

 Here module is equal to the whole mass, where different elements add to the main mass to make it complete and work as a
whole built form.
I8 (Unit to whole-Kamalapur Railway Station)

 A beautiful representation of modules converting into a whole built form; the repetition of umbrella-shaped thin concrete
shell modules creates a huge scaled parabolic super roof and each of the modules is visible from both in top view and
elevation.
I9 (Unit to whole-Rajshahi University Cafeteria)

 Here structural grid defines modules in both plan layout and elevation.

142 |
 I10 (Unit to whole-Rajshahi University Library)

 Basically, the elevation is treated according to horizontal bands which are gridded into modules and collectively set the
outline of the whole elevation.

** All Drawings are prepared by author

Summary:
It has been seen that every example has been designed considering some modules that ultimately converted
into a whole built form by the repetition and aggregation. In residential and institutional cellular space
buildings (I1-I6) modules are visible in both plan layout and elevation, whereas in congregational space
buildings modules have been defined in three-dimensional perspective (I7-I10). Designing considering
modules has been considered one of the modern approaches of designing that contribute in cost-
effectiveness, quick erection of the building and multiple productions of any object or built form. Thus the
architect’s work can go all these attributes mentioned above and this modular approach expresses his
rational, logical and pragmatic thinking while designing.

Here the concept of designing a building as a “whole” is more visible than designing them as “unit”; but
the concept of practicable, erectable and rational approach in construction is visible as this whole form can
be divided into scaled modules which is the basis for any pragmatic construction.

J. Material Distribution:
Material distribution is one of the significant decisions involved while designing. On the one hand, the
material is very significant while choosing construction methods; on the other hand, it also demarcates the
visual and tactile properties of any shape or built-form. In classical period materials were used for
ornamentation purposes, they were curved out or added to achieve certain semiotic and symbolic
dimension. With the change of perception, periodically materials are now more or less exposed with its
inner beauty and the texture of materials is considered itself as a beauty. This change of perception tends
to happen from the turning of modern times. Climatic considerations also play a role while distributing
material. While western winter oriented countries follow more solidity in terms of choosing materials and
its composition; oriental summer based countries use lighter materials that can breathe and pass air easily.
These differences are also visible while composing exterior elements. Choosing the material and
distributing them in order can change the indoor environments and way of living of the inhabitants.
A= inner layer module (Mostly the walls of rooms adjacent to corridor/verandah)
B= outer layer module (Exterior Façade)

143 |
 Table 14:“Material Distribution” in the Architectural works of RGB (J-Case Study)
J1 (Material Distribution -Boys Hostel BUET)

 The inner layer “A module” consists of glass panels, a sill leveled brick wall and a wooden door. All these elements are demarcated
within the frame of the beam (just above glass panel), floor and two columns on both left and right sides. The outer layer “B
module” consists of thin linear elements that are inverted T shaped concrete lintel connected with beam, floor thickness and two
segments of parapet; all these items are cast in concrete. In north and south elevations, the long vertical downspouts are cast in
concrete. In the east and west elevations are enriched with vertical concrete louvers that contribute both aesthetically and
climatically. All concrete elements are painted with white stucco leaving bricks in its’ exposed condition.

J2 (Semiotic Dimension -Priests And Seminarians Residence, NDC)

 The inner layer “A module” consist of vertical glass panels, wooden door, and L shaped brick wall. All these elements are framed
within beam, columns and floor margins which are cast in concrete. In the outer layer, the most prominent element is the parapet
comprising of a relatively solid part in front of the door side to ensure privacy and comparatively lighter part in front of the
window part to allow air to come in. Just after the construction both concrete and brick built elements were exposed, but now the
concrete built elements are painted with light grey color and exposed brick are now painted with light pink color.

J3 (Material Distribution -Priests And Seminarians Residence, SJHSS)

144 |
 Although it is an unbuilt project, from drawings and model image gives us some information about its material properties. The
inner layer is not clear but the outer layer “B module” comprised of rectangular white stucco drop wall on the lower and upper
level of the floor and a T shaped concrete parapet-divider. The North and South elevations are intricate with details, however, the
east and west elevations are relatively solid and blank.

J4 (Material Distribution -Holy Family Nursing School Hostel)

 The inner layer “A module” consists of the linear vertical brick wall dividing this module into two segments. In the left segment,
there is a wooden door surrounded by window panel at top and right and a sill leveled brick wall. In the right segment, the eye-
level window is topped by pivoting a high window and is supported on a brick wall. All these elements are fixed within the beam,
floor, and left-right columns demarcation. The outer layer “B module” is comprised of white stucco arched shaped drop wall, T
shaped divider and a solid drop wall cum parapet combination. Like the previous examples, north and south elevations are more
perforated than those of the east and west sides’ blank wall.

J5 (Material Distribution -St. Joseph Higher Secondary School)

 In this example, the inner layer “A module” is quite simple and comprised of liner layers of glass panel supported on the liner
layer of the brick wall till sill level. The outer layer “B module” comprised of concrete drop wall, T shaped concrete parapet with
a solid drop wall cum parapet combination. Just after the construction completion, elements in north and south elevations were
left in raw format; beams, columns, and top of parapet were of exposed concrete and the lower layer of the parapet was plastered

145 |
 brick. The west and east elevations were more solid and consisted of exposed bricks margined with the concrete structural
framework. But now the full building is painted with a light brown and grey color combination.

J6 (Material Distribution -Civil Engineering Faculty Building BUET)

 In the inner layer “A module” horizontal band of the window panel and brick wall are visible and the outer layer “B module”
comprised of concrete sunshade projection with a hanging drop wall. This material distribution creates a synchronized order,
harmony and balance to promote visual clarity of the elevations.

J7 (Material Distribution -BUET Gymnasium)

 In this building, material distributions are made according to structural order and functional purposes. The bracket shaped beams
are of exposed concrete, supported by pure white stucco painted columns and holding thick concrete parapet roof above. All
additive elements like stairs and bracket shaped seating with gallery floors are painted with white stucco. Brick jalis have been
introduced in the eastern and western end to allow light and air while all other fenestrations are closed.

146 |
 J8 (Material Distribution -Kamalapur Railway Station)

 The modular thin-shelled parasol roof is constructed of reinforced concrete. While the full roof represents a monolithic style of
material combination, the below relatively lower structures are contrasting in forms. They are fully orthogonal and made of brick
walls, louvers, glass windows, linear parapets, and wooden doors. The harmony between these contrasting elements lies by the
homogenous white stucco paints on both the roof and the lower structures.

J9 (Material Distribution -Rajshahi University Cafeteria)

 In this building all structural elements are of concrete constructions and the folded plate reinforced concrete roof is painted in
white stucco. However, the partition walls surrounding the central main dining hall and external non-load bearing walls are of
exposed brick.

J10 (Material Distribution -Rajshahi University Library)

 In the façade of the library, there remains a composition of brick wall panel and glass. Repetitive alteration of these two elements
creates a harmonious order and this contributes to the visual and tactile quality of the surfaces.
** All Drawings are prepared by author

Summary:

It has been seen that every above-mentioned example has been designed considering some modules that
share similar material distribution throughout the elevation. In the residential and institutional buildings,
material distribution is mainly governed by the module system and this module makes full façade by
repetition and alteration (J1-J6, J10). The most prominent feature in choosing the material is focusing on
the truthfulness of material and the type of function they circulate. In every building, the natural state of

147 |
the material is celebrated but sometimes it is altered due to complying with climatic considerations. For
instance, in some examples white stucco is used to get a smooth finish and protect concrete surfaces from
the adverse effect of rain. While material distribution, it is evident that in every example structural grids
and structural elements are flawlessly exposed and there is no miss-match in between load-bearing and non-
load bearing elements and materials. In the congregational buildings (J7, J8, J9) an overall complete
composition of concrete, brick and white stucco is apparent.

K. Semiotic Dimension:

Semiotic dimension as a building attribute collaborates with the idea that any of the building elements
represent any sign or symbols that may represent cultural, religious or traditional issues of a region,
community or context. Architects sometimes are seen to use symbolic features like arches, domes,
triangular pediments to reflect the concept of classical architecture, Mughal architecture or even Islamic
architecture, sometimes this approach is forceful from the clients’ part which becomes difficult to disregard.
The idea of appropriateness in designing lays on how architect handles those forces and turn them into
positive design ingredients.
Table 15:“Semiotic Dimension” in the Architectural works of RGB (K-Case Study)
K1 (Semiotic Dimension -Boys Hostel BUET)
 Not found any semiotic dimension
K2 (Semiotic Dimension -Priests And Seminarians Residence, NDC)
 Not found any semiotic dimension

K3 (Semiotic Dimension -Priests And Seminarians Residence, SJHSS)

 Arched shaped punch in the corridor to represent traditional arches or curved surfaces, these elements resemble the idea
of semiotic dimension in this example.

K4 (Semiotic Dimension -Holy Family Nursing School Hostel)

148 |
 Similar to the previous example, arched shaded drop walls or shading devices are used in the face of the corridor to
contribute to providing shading as well as to give this building a semiotic dimension.
K5 (Semiotic Dimension -St. Joseph Higher Secondary School)
 Not found any semiotic dimension

K6 (Semiotic Dimension -Civil Engineering Faculty Building BUET)

 An arched way defines the entry from the colonnade to the ground floor lobby, this can be taken as an approach to
represent semiotic dimension in built form but with a minimal approach.
K7 (Semiotic Dimension -BUET Gymnasium)

 The gigantic structure considering the concept of bridge construction also represent a semiotic dimension when the beam
and columns are visualized separately, this combination forms multiple arched structures that repeatedly hold a grand
space beneath.

K8 (Semiotic Dimension -Kamalapur Railway Station)

 Kamalapur railways station was designed with the concept to represent Islamic architectural elements like an arch, dome
but architect took it as a challenge and give this semiotic dimension in a tricky way that goes with the client’s
requirement as well as represents modernity.

149 |
 K9 (Semiotic Dimension -Rajshahi University Cafeteria)

 The semiotic dimension here is transformed, the folded plate roof creates a roofline that somehow coincides with the idea
of using arched shaped spaces, but this approach is quite indirect.
** All Drawings are prepared by author

Summary:
It is not evident that the architect has used the semiotic dimension as building attributes in all his buildings.
Rather it is seen in two of his examples in a residential project and boldly seen in the most prominent
example of Kamalapur railway station as looking with symbolical representation was the prime concern
and requirement of client or railway authority. So it is not seen that semiotic dimension in architect’s
examples was used as decorative or symbolic elements rather he used each of this type of elements as a
need for function or as an element of climatic consideration, for example, the arched shaped drop walls in
corridor act as shading devices, arched shaped beams in Gymnasium merged as structural element or as a
tricky representation he did in his three congregational buildings. So, the semiotic dimension in building
attributes was not used as a motif or decorative purpose rather blended with functionality and climatic
responsiveness that ultimately contribute to the concept of the architect’s design approach with rationality.

L. Indoor Outdoor relationship:

In architecture, space is the key element, “the core of architecture” (Krstić, Trentin, & Jovanović, 2016).
Space arranging and organizing are some of the basic tasks of any architectural project. The quality and
way of living are mostly shaped by spatial structure. Space creators the architects possess immense
accountability to those for whom they plan; the consumers of that space because their design has a great
impact on the lifestyles of the dwellers.

To accomplish an architectural composition, there is no way to skip dealing with both inner and outer space
and to create a virtuous assembly among them. In the rigid design method, the affiliation between inside
and outside is given very strictly. The margins between interior and exterior are visible, perceptible and the
arenas of inside and outside are firmly demarcated. It is marked as indoor or outdoor. If we consider these
two phenomena in two contrasting colors, then this concept complies with the ideas of conventional
separatism. But what if these two colors have no boundaries rather they transform from one color to the
other through different shades or gradients? In space, these intermittent shades are called in-between spaces
or transitional spaces; that demarcate a threshold in the relationship between indoor and outdoor spaces.
The relationship between ground and built form is very prominent in the tradition and culture like our
country has. In our environmental context, all social activities are better performed in an open space with
minimum architectural intervention, even a banyan tree is considered one of the best places for social
gathering having no physical margins surrounding its trunk. When buildings are single-storied, indoor-
outdoor relationships reveals as the strongest bonding and blending with both physical and visual
connection. With a lower plinth height and an appropriate element connecting two different grounds

150 |
maintain continuity of spaces and ensure flows of activity. With the increase of height, this relationship
tends to divide into levels; sometimes physical connection and contribution are compromised but the
provisions of creating visual link among spaces always remain.
Table 16:“Semiotic Dimension” in the Architectural works of RGB (K-Case Study)
L1 (Indoor Outdoor relationship-Boys Hostel BUET)

 The ground floor is surrounded by green open spaces. The low height of the plinth ensures visual and spatial fluidity
between indoor and outdoor spaces.
L2 (Indoor Outdoor relationship-Priests And Seminarians Residence, NDC)

151 |
 Very interestingly, the ground floor has been designed to be opened and less served. In terms of rooms and other services,
they are surrounded by a semi-outdoor corridor and after this layer, they are spatially connected with the outdoor
environment. This configuration of indoor and outdoor spaces on the ground floor contributes in making the flow of space.
In upper floors, rooms are arranged in between two semi-outdoor spaces, one is the veranda and the other is a corridor. So
no indoor space directly exposed to outdoor rather through a layer of semi-outdoor space.

L3 (Indoor Outdoor relationship-Priests And Seminarians Residence, SJHSS)

 Here, similar to the previous example, all rooms are arranged in a garden-like setting to enhance the free-flowing concept
of indoor, semi-outdoor and outdoor spaces. A low heightened plinth ensures comfortable mobility from indoor to outdoor
spaces. There remains a visual and spatial connection between the outdoor courtyard and both the ground floor and the first
floor through the corridor and verandah.

152 |
 L4 (Indoor Outdoor relationship--Holy Family Nursing School Hostel)

 In this example, the ground floor has a visual and spatial connection with the adjacent outdoor spaces and context, whereas
the corridor at the first and second floor are faced towards the inner court to ensure the safety and security of the user by
continuous surveillance through visual connection.
L5 (Indoor Outdoor relationship--St. Joseph Higher Secondary School)

153 |
 Very interestingly, the ground floor on the southern side was designed as an open plinth without having any rooms and this
open plinth keeps continuity between the inner courtyards to the outer playground. The students use this open space as
their semi-outdoor playing space; this low heightened space did not add any complicacy as the height perfectly goes with
the scale of necessary for children. On the first floor the intermediate breathing spaces after two consecutive classrooms,
chain the flow of indoor, semi-outdoor and outdoor spaces. Corridors on the first floor and ground floors are faced one
opposite to other around the inner courtyard to ensure visual connectivity and spatial linkage between the northern and the
southern wings.
L6 (Indoor Outdoor relationship--Civil Engineering Faculty Building BUET)

 The indoor-outdoor relationship is indirect here as the building is designed to be compact to accommodate multiple rigid
functions. Due to some limitations to accommodate large scale types of machinery, labs were thought to keep at ground
floor level. So here less transparency in the ground floor has been observed. But the intermediate breathing spaces between
classrooms ensure the flow of space and less rigidity by delivering visual and spatial connection.

154 |
 L7 (Indoor Outdoor relationship--BUET Gymnasium)

 In Gymnasium building, an introvert environment has been created to encourage the internal properties that are necessary
for the activities to be held. Less connection with surrounding and fewer relationships between indoor, outdoor and semi-
outdoor spaces are found probably due to the necessity of functions for which it has been built.

L8 (Indoor Outdoor relationship--Kamalapur Railway Station)

 This building offers the flow of spaces, where the spaces bounded by low structures basically act as indoor spaces and the
whole super roof holds a fluid semi-outdoor space that continuously being enlightened and ventilated by respectively
daylight and natural air. The relationship here between indoor and outdoor space is very direct and obvious here.

155 |
 L9 (Indoor Outdoor relationship-Rajshahi University Cafeteria)

 This single storied built-form is designed as layers of spaces. Firstly central indoor dining space is surrounded by semi-
outdoor verandah acting as the connection from outdoor to indoor. This semi-outdoor space hold benches that contribute to
the interaction of students. This building looks like to be grown from its context, to be blended with nature, to break the
barrier between indoor and outdoor spaces.

** All Drawings are prepared by author

Summary:
It has been seen that in residential cellular space buildings (L1-L4), ground floors are relatively less
consumed with indoor spaces; to give more spaces to celebrate the interrelation between indoor-outdoor
relationship, to accommodate the traditional semi-shaded spaces to keep a visual and spatial connection and
to promote transparency and fluidity of space. In institutional cellular space buildings (L5-L6), there is also
a tendency to maintain direct and uninterrupted relation between indoor and outdoor spaces and where it
becomes complex or less achievable particularly in multi-level buildings, semi-outdoor breathing spaces
are introduced in different level to enhance the fluidity of space. In buildings with congregational space,
(L7-L9) function has been prioritized. However, the sequence of spaces collaborates with the idea of
blending between indoor and outdoor spaces. The super roof creates a continuous pavilion-like semi-
outdoor open spaces and indoor spaces are reserved for activity purposes, they have been bounded by walls
(L8-L9).

156 |
M. Spatial Layering:
The spatial continuity between outdoor, indoor and semi-outdoor is considered one of the defined features
of Modern Architecture and the aspiration for universal space was supporting this continuousness
(Smithson & Smithson, 2001). Spatial layering is very significant in social and climatic considerations. In
Asia, maximum social gathering is focused on outdoor or semi-outdoor spaces like courtyard, verandah,
balcony or porch; whereas in the occidental context, these activities are more or less indoor oriented. The
activity pattern and geometry of the plan layout define the appropriateness of this layering. (Dark hatch
represent indoor and light hatch represents semi-outdoor, the diagram in the left is a schematic plan layout
and the right one is schematic section).
Table 17:“Spatial Layering” in the Architectural works of RGB (M-Case Study)
M1 (Spatial Layering -Boys Hostel BUET)

 In this example rooms are adjacent to a corridor on one side and verandah on the other side. It ensures avoidance of
opening up of rooms directly to the outdoor environments.

M2 (Spatial Layering -Priests And Seminarians Residence, NDC)

 Similar to the previous example, here rooms are arranged against linear corridor and in south side there are verandahs to
protect rooms from direct sun exposure.
M3 (Spatial Layering -Priests And Seminarians Residence, SJHSS)

 This example also follows the same principles of not opening up directly to the outside environment. There is a
transitional space like corridor and verandah in between indoor and outdoor layers.

M4 (Spatial Layering -Holy Family Nursing School Hostel)

157 |
 An elongated corridor act as a transitional space adjacent to indoor on the south side whereas in north no spatial layer is
provided to welcome north light and to minimize space allocation.
M5 (Spatial Layering -St. Joseph Higher Secondary School)

 In this example corridor adjacent to the classroom act as both transitional space and breathing space for children. On the
opposite side, there is a hollow layer that protects indoor spaces from being exposed directly to the outside environment.
This layer is not spatial rather physical as it performs to obstruct the adverse effects of climate like driving rain and
scorching sun rays.
M6 (Spatial Layering -Civil Engineering Faculty Building)

 In this building, monotonous repetition of rooms in an arraying manner has been challenged and intermediate breathing
spaces are introduced with an orderly alteration. This meandered layer of indoor and semi-outdoor spaces unfolds spatial
surprises and create visual as well as the spatial connection among spaces of same and different level.

M7 (Spatial Layering -BUET Gymnasium)

 In this example, the intermediate transitional layer of space is missing because of the function and scale of this project.

158 |
 M8 (Spatial Layering -Kamalapur Railway Station)

 Here, free-flowing of spaces that hold a huge crowd, while lower structures are mostly oriented to support services and
introvert activities. The semi-outdoor spaces under the super roof connect indoor spaces and contribute in leading to
outdoor spaces. Both the volume and area of free-flowing spaces comply in supporting the huge crowd of passengers
heading towards the platform.

M9 (Spatial Layering -Rajshahi University Cafeteria)

 The central dining hall is surrounded by a semi-outdoor verandah that connects indoor to outdoor spaces. Service spaces
are at the concerns and edges and are directly exposed to the outside environment. This example thus is coherent with the
idea of not exposing major functions directly to outdoor rather an intermediate space is provided in between indoor and
outdoor.

** All Drawings are prepared by author

159 |
Summary:
In almost all examples (M1-M3, M5, M6, M8-M10) the inner spaces are secured by another peripheral
layer that guards these spaces and protects them from being exposed directly to the outdoor environment.

N. Natural Light and Air:

From the very beginning of human habitation, people seek to build a shelter that can protect them from
adverse climatic effects at the same time allow positive energies of nature like natural light, air to let in.
Natural light and air are not only necessary for daily activity but also inviting daylight and fresh air confirms
hygiene indoor environment. Tropical climatic regions for their geographical positions get plenty of
daylight and fresh air which can be considered good sources in reducing energy consumption. One of the
most effective ways of designing in a tropical climate is to design like a pavilion with a super roof,
uninterrupted by any walls and without any exterior barrier. This condition allows plenty of natural air to
pass through intermediate spaces and welcomes daylight to perform activities underneath.

There are numerous ways of making provisions for natural ventilation and daylighting in buildings.
Sometimes it can be done by keeping the building less deep, enlarging the opening, increasing shaded
spaces, introducing skylights, etc. The main challenge lies in terms of allowing daylight without allowing
the heat that comes naturally. The increasing size of inlets and outlets for ventilation creates provisions for
glares to come in with heat. Here comes the challenge of balancing and creating an appropriate space with
maximum comfort for a user.
Table 18:“Natural Light and Air” in the Architectural works of RGB (N-Case Study)
N1 (Natural Light and Air-Boys Hostel BUET)

 Enough opening and less deep room bay flanked by shaded corridors at the north-south direction ensures daylight
penetration without southern glare and ensures cross ventilation inside a room.

N2 (Natural Light and air-Priests And Seminarians Residence, NDC)

160 |
 In the south, openings are guarded by a verandah and in north openings are located above eye level and opens up in the
corridor, this arrangement of window helps cross ventilation in the room. Less deep room with a shaded verandah help
in welcoming natural light protecting from the southern glare.
N3 (Natural Light and Air-Priests And Seminarians Residence, SJHSS)

 Similar to the previous example, rooms are less deep and opening in North-South face enhances the possibility of cross
ventilation. The corridor has been strategically placed at the southern side to provide shade from the scorching sun as
well as ensures diffused light to be entered in the room.
N4 (Natural Light and Air-Holy Family Nursing School Hostel)

 Similar to the previous example, direct opening towards North ensures penetration of northern diffused light whereas
southern sided corridor ensures shading from glare. Opening at two opposite sides creates scope for cross ventilation
among rooms.

161 |
 N5 (Natural Light and Air-St. Joseph Higher Secondary School)

 In the south elevation, series of drop walls suspended from projected beams, act as shields that give protection from
southern glare at the same time ensure daylight penetration. Corridor in front of classrooms protects indoor spaces from
directly exposure to outdoor. Opening in two opposite sides (north-south) contributes in cross ventilation.

N6 (Natural Light and Air-Civil Engineering Faculty Building BUET)

 In this building, to accommodate more functional requirements rooms are arranged in two bays. However, the provision
of cross ventilation is maintained through openings in both the north and south side and through a high window opening
in the inner corridor. Here also the avoidance of directly opening of indoor spaces towards outdoor is clearly visible,
drop wall shading devices are used to protect inner spaces from glare. To avoid the negative effect of a double loaded
corridor in terms of daylight penetration, breathing spaces or semi-outdoor spaces are introduced at a regular interval.
These spaces contribute in gaining lights frequently in the corridor as well as to the room.

162 |
 N7 (Natural Light and Air-BUET Gymnasium)

 In this building, there are openings in both the north and south side in the ground floor through glazed windows. Void in
between the super roof and mezzanine floor confirms daylight penetration for indoor activities and natural ventilation to
give comfort to the users.

N8 (Natural Light and Air-Kamalapur Railway Station)

 Fully opened free flow of spaces without any borders ensures natural ventilation; the super roof provides shades to the
low structures and the circulation spaces of movement, this concept contributes in keeping indoor areas cooler at the
same time providing daylight but not exposing to direct sun.

N9 (Natural Light and Air-Rajshahi University Cafeteria)

 The inner main dining hall in enlightened with the clearstory light from the triangular openings of folded plate roof.
This space is ventilated through its peripheral opening towards the verandah that affirms cross ventilation, at the same
time is protected from direct exposure to outdoor glares. A gentle breeze from outdoor spaces easily penetrate indoor
spaces and provide a comfortable environment to the users.

** All Drawings are prepared by author

163 |
Summary: It has been seen that every example has been designed by following the provisions of natural
ventilation and daylighting. All residential and institutional cellular space buildings (N1-N6) are less deep
to allow light easily in the interior spaces. They have openings on two opposite sides of north and south to
ensure cross ventilation. South sides of all residential and institutional buildings (N1-N6) with cellular space
are flanked by a shaded corridor to allow diffused light and avoid glare in indoor spaces. Sometimes north
sided walls of rooms (N3-N4) are directly exposed towards outsides to get the benefits of north light. In
buildings with congregational space (N7-N9) are also designed to ensure natural light and air. Kamalapur
Railway Station (N8) acts as a pavilion to inlet plenty of light and air and in the lower structures, all rooms
have provisions of natural cross ventilation. Rajshahi University Cafeteria and BUET Gymnasium (N7,
N9) have provisions of the skylight and upper-level openings to ensure diffused light in a comparatively
deeper indoor environment. They are also equipped with openings and shaded spaces to channel air in the
main activity zones.
O. Shade from Sun and Rain:
In the Tropics, every building needs some basic shading devices to reduce solar heat gain and to minimize
the cooling load. Monsoon season is another variable that defines design considerations in a tropical
climate. The angular driving rain demands long projection of verandah or floor, whereas it contradicts with
the demand of welcoming daylight inside the building. To make a balance between diverse climatic
considerations architects approach or act differently based on the same principles and that is “how to reduce
heat gain”. The importance of shading devices is inevitable. The book titled "Heat, Cooling, Lighting,"
solar radiation should be obstructed during the overheated period of the year, and shading is a key strategy
for attaining thermal comfort in summer (Lechner, 2015). Green Vitruvius described that the best way to
decrease heat gain is to obstruct solar radiation by shading. The significance of shading is inordinate and
recognizable that we find its evidence all over history and through cultures. Its effects are visible from
classical architecture to raw vernacular buildings (Bernerd, 1964). As marcel Breuer Stated in Sun and
Shadow, “The sun control device has to be on the outside of the building, an element of the facade, an
element of architecture. And because this device is so important a part of our open architecture, it may
develop into as characteristic a form as the Doric column’ (Breuer & Blake, 1955). In Hot and humid
regions, large windows are mandatory to make the best use of natural ventilation, but simultaneously,
sunbeam that arrives through these large windows rises discomfort. Sprawled overhangs resting on columns
can resolve this contrast.

Table 19:“Shade from Sun and Rain” in the Architectural works of RGB (O-Case Study)

164 |
 O1.1 (Shade from Sun and rain-Boys Hostel BUET)

 This example purely describes how effortlessly climatic considerations could be housed in a building. In terms
of sun shading, rooms are offset with corridors from the exterior and this portion act as an extended veranda to
cut scorching sun. Inverted T shaped lintels joined with beam and linear segmented parapet and railing provides

165 |
 shades to the corridor and obstructs sunbeams to hit room surfaces directly (illustrated in blow up A and in
axonometric view). Rainwater is collected from the roof and channels through the vertical downspouts and
finally poured into the temporary rainwater reservoir. These elements are not only functional but also
aesthetically pleasing, giving a vertical dimension to break the horizontal monotony of the elevation.

O1.2(Shade from Sun and rain-Boys Hostel BUET_ Common Room & Prayer Hall)

 In the Common room and Prayer Hall block, there is a combination of rainwater gutter and collector which
contributes in directing the rainwater running from the roof (section AA’). It is a hollow column-like structure

166 |
 that comprised of two vertical short width walls apart from each other with two hanging drop walls positioned
in a staggered manner. The outer drop wall is located higher than the inner drop wall to hide the source of
rainwater as well as the inner lower drop wall prevents rainwater from splitting (Section of rain gutter and
collector, O1.3-axonometric view of rain gutter). All these results in channeling of rainwater like a gutter to
the temporary rainwater reservoir for further use in gardening or cleaning.

O1.3 (Shade from Sun and rain-Boys Hostel BUET_ Common Room & Prayer Hall)

 The brise-soleil or horizontal sun breaker aligned with the beamline in common room and prayer hall block
ensures obstruction of direct sunlight penetration in the indoor area (illustrated in blow up A).

167 |
 O2 (Shade from Sun and rain -Priests And Seminarians Residence, NDC)

 Widely projected verandah in the southern sides of the rooms ensures avoidance of direct sun-facing of room
surfaces (Blow up A and B). Glass steel fin windows ensures privacy and diffused light whereas leaving
provision for air circulation (Blow-up of windows).

168 |
 O3 (Shade from Sun and rain -Priests And Seminarians Residence, SJHSS)
 This building has been excluded from this part of the analysis for the unavailability of information as it has not
been built according to the architect’s original design.

O4 (Shade from Sun and rain –Holy Family Nursing School Hostel)

 In the southern side of the rooms long corridor act as a barrier for sun penetration. The shallow arch-shaped
drop wall and linear parapets connected through T shaped divider contributes in providing shades to the
corridor (Illustrated in blow up A, B and exploded axonometric view).

169 |
O5 (Shade from Sun and rain -St. Joseph Higher Secondary School)

170 |
 In this particular example, several details have been designed very meticulously to address rain and sun shading.
Corridors are shaded with drop walls, directly hanged from a projected beam on the top floor. Whereas in the
lower floors a rectangular wall comprised of the parapet of running the floor and drop the wall of the lower floor,
topped by a T shaped divider cum railing provides shade to the corridor as well as a physical barrier.

 On the other side in addition to the drop walls hanging from beams, there is a sloped shading just behind the
drop wall at the top floor to protect exterior surfaces of the usable spaces (rooms) from driving rain (Illustrated
in blow up B & D). This slopped shade acts like the slopes of our traditional pitch roof to drive excessive rain
and to secure the main structure from being damp. At the sill level, inverted U shaped sill with a groove
(illustrated in Blow up B & C) at its lower surface prevents water leakage to the inner surface and ensures a drop
of water.

171 |
 O6 (Shade from Sun and rain - Civil Engineering Faculty Building BUET)

 Projected like verandah but inaccessible sunshade cuts both sun and rain and enhances possibilities of diffused
lights in indoor (illustrated in blow up A & B). Drop wall from the projected verandah also assures avoidance
of sun glare. The rotated H shaped lintel-sill combo provides shading when the sun remains at a lower angle by
another layer of horizontal elements (illustrated in axonometric views).

172 |
 O7 (Shade from Sun and rain- BUET Gymnasium)

 In this example, the projected roof beyond the peripheral walled boundary delivers shade to the outer surfaces
to keep the indoor cooler. In the east and west end, the roof is edged with six extended W sectioned scoopers to
collect and channel rainwater from the roof. In the rainy season, these elements contribute in portraying a fairy
environment of the waterfall (Illustrated in axonometric view). This example simply recognizes how a basic
functional need and property could be celebrated by design.

173 |
 O8 (Shade from Sun and rain –Kamalapur Railway Station)

 The thin-shelled concrete parasol roof consists of a number of modules cumulatively provides shade to the lower
structures and usable spaces (Illustrated in blow up C and D). The full pavilion is illuminated naturally by
daylight and the shade from super roof aid in reinforcing cooler environment.

 Rainwater pipes are concealed in the column holding the vaulted roofs of platforms. Rainwater is directed to the
intersection line of two vaults, pour into rain water holes and then collected through the concealed welded steel
rainwater pipe and then stored for further use in train washing and cleaning purposes.

174 |
175 |
O9 (Shade from Sun and rain –Rajshahi University Cafeteria)

176 |
 This example is extraordinary in terms of shading from the sun and rain. The main and central dining hall is
surrounded by a verandah that automatically contributes in avoiding direct exposure of usable spaces to glary
outdoor and creates layers of comfortable spaces (illustrated in section AA’ and blow up A). Central folded
plate roof provides a shaded mono and column-free spaces beneath it at the same time triangular opening in
between each pitch of the folds creates provisions for daylight to enter the main hall. No artificial light is
necessary at day time.

 The flat roof peripheral to the central folded roof disburse rainwater to its edge and shortly projected scoopers
being crowned on every column, channels rainwater (Blow up B and Blow-up of Rain Spout). This activity
resembles a natural waterfall and complies with the idea of responsiveness towards seasonal change by making
a beautiful sound of falling water.

** All Drawings are prepared by author

5.2 Summary:

It has been seen in every building that the architect has concentrated meticulously in detailing for
considering shade from sun and rain. In all residential and institutional buildings with cellular spaces, there
are layers of weather protection that keep indoor spaces out of direct exposure to the sun. In these examples,
projected verandah or extended corridor (O1-O6) firstly obstructs sun rays and the drop walls (O1, O4-O6)
in the outer most layers provide the second layer of barrier from sun rays. These drop walls (O1, O4-O6)
are seen in every example but vary in form and shape while their function remains the same. Sometimes
drop walls are replaced by linear lintels (O1.1) horizontal louvers (O1.3) in south sides and vertical louvers
(O9) in west sides acting as sun breakers to protect indoor spaces from heat. Another common element is a
combination of parapet and drop wall (O1.1, O4-O5) that cumulatively reinforces protection from scorching
sunbeams to get entered. T shaped lintel and divider (O4-O6) is also seen in his buildings to make a variation
in the visual composition of elevations as well as make a tie between two levels. Extended roof (O7) or
projected folded plate super roof (O8-O9) creates possibilities of mutual shading and ensures cutting
sunbeams for lower-level spaces and structures.
All these examples are equipped with simple yet easy rainwater drainage, collection, and channeling
system. The architect used rainwater downspouts (O1.1-O1.3, O5) to channel and discharge rainwater
dramatically and poetically without exposing collection sources directly. He also used scuppers (O7-O9) to
collect and drain rainwater from the rooftop. He used sloped surfaces (O5) to repel rainwater splashes to
prevent exterior wall surfaces from being damp. Lintels, sill slabs, handrails (O1.1, O2, and O4-O6) are
grooved outward to obstruct rainwater penetration through conduction.
It is evident from the architect’s examples that he encountered with all problems related to climatic issues,
very boldly with an intricate yet simple approach. In maximum cases, he did not try to hide the drainage
system of rainwater rather he exposed it as an obvious and integral design element of his buildings. While
designing details for shading and drainage, despite ignoring, he admitted every fact and took it as a
challenge to create a balance between climatic and functional needs with aesthetics.

177 |
Chapter 06: Interpretation of Architect Robert G. Boughey’s Works
in relation to Relevant Tenets of Architectural Theories

“ I have long believed that modernism is best suited to the tropics, so much more than
the cold, wet, gray context of Europe, where it was born in the early twentieth century”-
Raul A Barreneche

“In the West everyone goes into a Cathedral, but in the East the people are outside,
they are not so involved with interior space, only the sacred image is inside the temple”-
Robert G. Boughey

Preamble
This chapter contains the analysis part of the methodology. The identified attributes from the previous
chapter has been analyzed and evaluated based on the relevant tenets of architectural theories. The works
of architect Boughey have been reviewed in terms of attributes under three basic architectural theories:
Modernism, Tropical Modernism, and Critical Regionalism. This chapter identifies the relationship
between attributes and relevant architectural tenets which will ultimately contribute in finding the key
factors in the evolution of physical and spatial attributes in the works of architect Boughey and locate
his work more precisely in the tapestry of global and regional history of architecture.

178 |
Plate 02- Matrix: Tracing the relationship between specific building attributes and the tenets of general architectural theories; this matrix
shows how connections exists. (Prepared by Author)

179 |
6.1 Modernism and RGB through the lenses of Modernism
As Professor Jan Hochstim stated about the emergence of Modern Architecture in his book Florida Modern,
“Modern architecture was not based on the invention of a new style, but on the desire to improve human
habitation and to liberate design from the prescribed use of historical precedents, which had overtaken the
field throughout much of the nineteenth century. It has its roots in a combination of rationalist and romantic
movements and the technological advancements of the Industrial Revolution. Modernism emulated
vernacular architecture’s honest expressions of both function and construction methods.” (Hochstim,
2004)
Modernism was more than a “style”, it was a necessity to welcome innovations, overcome age-old prejudice
and thinking rationally rather than uplifting backwardness. Because of the Industrial Revolution, the
emergence of new constructional and structural methods, architects and engineers rethought their process
of designing. Le Corbusier’s concept of calling a house “a machine for living” like cars to give comfort,
efficiency, and affordability promoted modern thinking of designs. Using concrete as a new construction
system allowed ample liberty to arrange the interior and exterior enclosures which promoted freedom of
thinking. Using simple geometric form, embodying simplicity and rationality in design thinking, eagerness
to adopt new technology of construction, approaching towards standardized mass production, ensuring
universality, appreciating individuality, accentuating true expression of materials, repeating clean and bold
lines of walls, accommodating solid-void composition, using purposeful and non-decorative elements were
the modern design understandings.
Adolf Loos’s removal of ornaments; Wright’s space-defining principles, prairie style of juxtaposing vertical
lines and horizontal planes and “broke the box” concept of blending indoor-outdoor spaces, “organic” a
concept of blending architecture with nature; Gropius’s the Bauhaus school built-in 1926 (in Dessau)
summarizes all the modernist ideologies of expressing function in forms and accommodating the new
building technologies (Hochstim, 2004); Mies Van der Rohe’s minimalistic approach towards design called
“Less is more”, Louis Sullivan’s “form follows function”, Louis I. Kahn’s Served and Service spaces,
Richard Neutra's clean and bold lined plans etc. have paved the path of modernist concept of architecture
(Hochstim, 2004).

Figure 103: The Evolutionary Tree 1920-1970

Source: Modern Movements in Architecture by Charles Jencks

180 |
To understand architect Boughey’s position in the history of modern architecture, a search has been
conducted in the literature of modern architecture. According to American cultural theorist and architectural
historian Charles Jencks, “In the period between 1920 and 1970, one can distinguish six main traditions or
movements in architecture, There is always a chance of revival of forms and ideas even if they are renewed
somewhat differently” (Jencks, Modern Movements in architecture, 1973) (Figure 103). Concentrating on
the political ideas that influenced the background of each movement, Charles Jencks explain these traditions
as below.

6.1.1 The Logical Tradition: In the logical tradition, the emphasis was on systematic planning,
continuous growth and structural prominence in the field of architecture. This tradition grows in the belief
that the rationality of any architecture should come from its structural logic and sequences. This tradition
aims at solving complex problems with systematic design methods and prioritizing performance
requirements, in contrast to focus on finished objects. (Jencks, Modern Movements in architecture, 1973).

6.1.2 The Idealist Tradition: This tradition is basically known as the center of modern architecture.
Due to the industrialization and mass production of machine-made products, alternative thinking of using
these products as construction material began to flourish. As a consequence, a new spirit towards machinery
aided design thinking started to expand. Construction on modules, using industrial products as components
for buildings, universalization of materials and above all accepting the possibilities of machines to reach a
new era in construction was the main achievement in this tradition. As explained by Reyner Banham,
“Every machine is a spiritualization of an organism… The machine is, par excellence, a phenomenon of
spiritual discipline… The new spiritual artistic sensibility of the twentieth century has not only felt the
beauty of the machine but has also taken cognizance of its unlimited expressive possibilities for the arts’
(Banham, 1967).

6.1.3 The Self-Conscious Tradition: In this tradition, the concept and individuality of an architect or
a group of architects followed by certain political resemblances and targets, govern a specific style.

6.1.4 The Intuitive Tradition: According to Charles Jencks, “Perhaps the greatest reason for the
critical independence of the expressionist architect is their ideology of individual creativity which is often
mixed with a form of anarchism” (Jencks, Modern Movements in architecture, 1973). It is a “spiritual
revolution”, an Utopianism as represented by expressionism.

6.1.5 The Activist Tradition: By the term activist, the notions of this style could be imagined. This style
is more aligned with Futurist-Constructivist ideas. Expressive monuments representing extreme emotions,
naked expression of structures in a dynamic way or even humble representation of built forms to give silent
reactions are identified as traits of this tradition.

6.1.6 The Unself-conscious Tradition: Despite attempting in creating something new, this tradition
emphasizes on natural evolution from a style to another due to the requirements, demands, functions, and
context.
In the Book Architecture Today, Charles Jencks has shown a timeline that denotes the categories of Late
Modern and it starts from 1960 (Jencks, Architecture Today, 1988) (Figure 104). As Architect Boughey
practiced here in the early 60s, according to this timeline his works could be identified as examples of late
modernist concepts. For further explanations, Charles Jencks’s categorization for later modernism will be
elaborated and reviewed regarding Boughey’s works to identify his position in modern architecture.
According to Charles Jencks, “There are many ways to characterize Late Modern Architecture and most of
them can be reduced to the simple notion of exaggeration. Late Modernism takes architecture to an extreme

181 |
in order to overcome its monotony and the public’s boredom with it” (Jencks, Architecture Today, 1988).
He explained three rhetoric exaggerations of Late Modernism, which are often overlapped and related to
each other even in one building. They are-

6.1.7 Sculptural Form: During the 1960s, Late Modernists started to use reinforced concrete in a
dramatic and ultra-expressive way, in a sculptural manner and it continues to develop in upcoming decades.
This Late Modern metaphor of Sculptural forms strengthened the belief that one material can do everything.
The categories of sculptural form are following (Drexler, 1979)-
6.1.7.1 Brutalism: Two significant architectural expressions competed for appreciation at the start of the
1960s. The one is buildings with glass and steels of Ludwig Mies van der Rohe and the other derived from
Le Corbusier's colossally sculptural buildings in Beton Brut or bare concrete (Drexler, 1979). This post-
World War II manner was frequently used for institutional and administrative buildings, possibly as these
buildings easily dominate their surroundings. In this typology, architects tend to transform a functional
aesthetic into sculptural creations, in maximum cases providing visual solidity. Structures are designed to
be exposed or columns can be concealed or thickened to create powerful vertical masses. Utility shaft,
vertical circulations often are kept exposed or topped with boxes to clarify their existence and position.
Strong lines of shadows add crisp to the elevation and break the monotony of homogeneity. Long cantilever,
long thick drop wall, wide and continuous parapet contribute in expressing visual and formal uniformity.
6.1.7.2 Imagery: Another Sculptural form that evolved at the beginning of the sixties and it was basically
a mimicked version of an object like bird, fish, snail, wings, arms, etc. In this metaphorical concept, several
buildings were designed to create an eye-catchy form to act as a landmark in a location or to be
overemphasized on the surroundings (Drexler, 1979).
6.1.7.3 Blank Boxes: A blank façade with less aperture creates a solid surface, reduces joints-strips and
increase homogeneity. Pure geometric mono material based structures with fewer apertures create a
significant vocabulary of simplicity and monumentality. (Drexler, 1979).
6.1.7.4 Planes and Volumes: Opaque and transparent planes, flat or curved; rectilinear forms, visual
exposition of interior spaces through glass surfaces, use of lines in elevations overall recreate the attributes
of early modern times (Drexler, 1979). Works of Richard Meier, Charles Gwathmey or Michael Graves
contributed in this revivalism.
6.1.7.5 Expressionism: As Arthur Drexler explained “Structure alone seldom justifies such forms;
function, in the sense that a particular use may suggest an intensified emotional response, as in a church,
may perhaps be sufficient reason” (Drexler, 1979). This approach towards design deals with expressing
functions in forms either both in interior and exterior or in any of them. Structural elements, reinforcing
details, climatic considerations, and functional articulation are exposed to contribute in the formal
expression of a built form.
6.1.7.6 Organic Form: Some architects materialized the belief that building should evolve responding to
our bodies, protecting like clothing or shells by curvilinear forms. Like architect Frederick Kiesler proposed
buildings as nurturing wombs, incorporated with light tunnels/apertures, water channels to let a building
breathe and let the inhabitants breathe in spaces. Curvilinear, twisted and meandering approaches both
expressed in interior and exterior surfaces (Drexler, 1979).

182 |
 Figure 104: Timeline of Late Modernism
Source: Architecture Today By Charles Jencks

6.1.8 Extreme Articulation

As Charles Jencks noted, “Extreme articulation became almost a style in itself during the sixties and
seventies and was widely practiced around the world. Most of the convincing works as in reinforced
concrete (Jencks, Architecture Today, 1988)”. It was a reaction to replace the over the boredom of blank
surfaces. Formal articulation of the surface into “skin and bones”, “Structuralism” with exposing structural
elements, joining details with extremity and beauty. Elements are organized geometrically in an order,
where they correspond with the functional articulation.Extreme articulation approach of designing is
concerned of breaking the monotony of mono-dimensional, mono-leveled and mono-directional
architecture, where physical and spatial attributes are let to be exposed separately for which purpose it has
been designed. The homogeneity of Modernism of looking similar irrespective of the functions, has been
questioned and an urge was felt among several architects to individualize every single building according
to their functions and requirements; thus the extreme articulation approach was adapted to overcome these
limitations.

6.1.9 The Second Machine Aesthetic

The British architect and writer Robert Kerr in 1869 distinguished four types of relationships between
structure and ornament. “Structure ornamentalized”, “structure ornamented” and “ornament constructed”

183 |
these distinctions may not matter in certain cases why are the ornament, structural shape, and constructional
detail have no identity. Late modernist emphasized structure ornamentalized particularly in an extreme and
gigantic Form (Jencks, Architecture Today, 1988).

6.1.10 Works of RGB through the lenses of Modernism:

Architect Boughey got his modernist training from the Pratt Institute, where his own mentor was a student
of Walter Gropius, the founder of Bauhaus School (Hoskin, 1993). The basic concept of modernism has
been seen in his examples. Following the discourse in this section, an attempt has been conducted in the
case studies to find out which tradition has more similarities with the works of architect Boughey; it is
evident that the first four traditions (Logical, Idealist, Self-Conscious, Intuitive) in the movement of modern
architecture have similarities with Boughey’s works and understandings. Logical structural order, rational
planning layout, minimal approach towards design, use of modular construction system (For reference
Chapter 5 A1-A9, B1-B9, C1-C9, D1-D2, E1-E9, I1-I9, L1-L9) all these notions goes with the Logical and
the Idealist tradition. Architect Boughey was very young when he was hired to East Pakistan in the 1960s
to design some significant projects. Direct self-consciousness and intuitiveness were not prominent in his
works, rather he emphasized clients’ and context’s demand. But it can be perceived from the discourses
with next-generation architects that he tried and prospered to establish significant marks in the prevailing
tradition of architecture in the context of the sixties (see appendix).
Architect Boughey’s works can be considered as examples of Late Modernism through reviewing the
timeline of Figure 104 as he started to practice in this country at the beginning of the 1960s. Among the
three exaggerations of Late modernism by Charles Jencks, architect Boughey’s works align with the
concepts of Sculptural form in terms of Brutalism, Expressionism, a few extents of Imagery (in Kamalapur
Railway Station) and Extreme Articulation (Figure 105-109). In his maximum works, he used reinforced
concrete both in ‘Beton Brut’ way (Corbusier, 1995) and with whitewash. He emphasized on expressing
the individuality and uniformity of material and texture. All of his design attributes have specific functions
and it is expressed separately in elevation. He attempted in expressing function in a formal expression (For
reference Chapter 5 section H1-H10). He mentioned how he attempted to design form following functions,
in the Priests’ and Seminarians’ Residence, NDC. He gave the title of his illustration “Function expressed
on the exterior of building”, in this he illustrated how services are expressed in forms, how spatial uses are
expressed according to the scale and type of function (Figure 110). His logical approach could be clearly
understood by understanding his keenness in giving attention to details like he did in this example. He
designed louvers to give privacy to priests’ rooms; intentionally louvers were kept untouched from beams
in order to express that the louvers are non-load bearing elements in upper floors (Figure 111). The use of
simple local building material, separating served- services spaces and humble formal expression are visible
in his designed buildings (For reference Chapter 5 section J1-J10, C1-C9 and H1-H10 respectively). As he
expressed about his design of Holy Family Nursing School (Figure 112),

“The room sizes reflect functions; students, teachers, common areas etc…Very simple
material so tried to use building shape, massing to create shadows to define the
building... Trying to break up the institutional look by breaking up the mass of the
building… The corridor is on the south for more safety and privacy, it forms pats of the
visual connection with the school.” (Boughey R. G., 2017-2020)
We can find evidences in terms of orientation, structure, geometry, solid-void combination in massing and
modular approach in chapter five section A1-A9, B1-B9, E1-E9, F1-F10 and I1-I10.

184 |
 Figure 105: BUET Gymnasium(Left)
Figure 106: Holy family Nursing School(Right)
Source: Author’s Collection from RGB personal Archive

Figure 107: Civil Engineering Faculty Building

Figure 108:Common and Prayer Room Block, Boys Hostel BUET
Source: Captured by Roufat Nahin Priota and Nayem Ahasan Srijon

Figure 109: St. Joseph School (left); Priests’ and Seminarians’ Residence, NDC (Middle) and BUET Gymnasium (Right)
Source: Author’s Collection from RGB personal Archive

185 |
Figure 110: Illustration by architect Robert Boughey about priests’ and seminarians’ residence, NDC
Source: Author’s Collection, Interview with architect Boughey

186 |
Figure 111: Illustration by architect Robert Boughey about priests’ and seminarians’ residence, NDC
Source: Author’s Collection, Interview with architect Boughey

187 |
 Figure 112: Illustration by architect Robert Boughey about priests’ and seminarians’ residence, NDC
Source: Author’s Collection, Interview with architect Boughey

Therefore, in the upper points, an effort has been given to find out modernist attributes in the works of
architect Boughey; but as modernism is hard to define through a particular or definite number of attributes,
further specification of his works is needed.
With the intention of searching further about the extensions of modernism, it was explored how modernism
faded away. As Marc Treib describes in the book Hawaiian Modern, “There is a long tradition of an
autonomous architecture – that is, an architecture evolved from issues of form and symbolism rather than
location and climate. Neoclassicism and International Style modernism share this particular trait, as both
attitudes often denied certain constraints characteristic of the specific site, at least to some degree” (Treib,
2007). So, the end of modernism was influenced by its semantic limitations, gradual absence of different
geographic locational values and cultural uniqueness. Soon the absence of diversity depending on context
and climate tend to vanish; for this modernism was questioned and ultimately resulted in the further tuning
of modernism. As a result of which several reactions, corrections or extensions of modernism came into
being and for this region, the two most suitable theories/ideas are Tropical Modernism and Critical
Regionalism. In the following sections, Architect Boughey’s works will be further interpreted with the ideas
of Tropical Modernism and Critical Regionalism to conclude about his works in an appropriate extension
of modernism.

6.2 Tropical Modernism and RGB through the lenses of Tropical Modernism
6.2.1 Tropical Modernism:
The responsiveness to context, environment and climate aids in designing passive architecture. This type
of architecture can deliver maximum comfort to the dwellers with minimum resources. As the climatic traits
of the tropics are so distinctive and idyllic, this act as a force in outlining modernism in the Tropics
(Hochstim, 2004). Hochstim explained that the climatic features of tropics like hot temperature, high
humidity, and continuous airflow enforce in planning outdoor orientated space (Hochstim, 2004). Prior to
the popularity of the air conditioning system, houses were designed passively to allow airflow, daylight but

188 |
having protected from sun and rain. Modern architecture, where there remains a fresh approach in focusing
functional solution and being liberated from forced stylistic manipulation, turned out to be best suited for
the tropics. The open interior, free plan layout, large windows, less deep building, outdoor terraces have
aided designers to practice an unintentional and unique transformed modern architecture which further
named Tropical Modernism. As Power and Richardson mentioned in the book Living Modern Tropical: A
Sourcebook of Stylish Interior, “In fact, the more clean-lined and restrained the architecture, the more
subservient it becomes to the richness of the natural environment and the more brilliant the contrast”
(Powers & Richardson, 2012). Modernism is about freedom from ornamentation and in tropical areas the
setting itself remains more vibrant throughout the year, leaves less scopes for decoration.

It is the essence of the tropics that allows modernism to perform profoundly, even better than other parts of
the world. The key concept of modernism is to be minimal, places where nature dominates and nature being
the most dynamic element, any conflicting architecture seems unnatural and over imposed. In spite of
Modernism’s origin in Europe and more development in the American Midwest, the climatic conditions
and exclusive traits of tropical “place” impacted and modified it. The elements of modern architecture are
best suited for the warm, contented and serene tropical climate than the tough European climate. As
Barreneche elucidates in the book The Tropical Modern House,

“As modernism in the tropics evolved, architects began infusing architecture with a local flavor, making
use of indigenous materials and incorporating reference to local cultures and building traditions to make
houses even more of their place. Modern homes there became richer and more layered and nuanced – and
consequently even more “tropical” than the pure, all-white or mostly white Euro-modernism that came
before…. I have long believed that modernism is best suited to the tropics, so much more than the cold,
wet, gray context of Europe, where it was born in the early twentieth century” (Barreneche R. A., 2006).

The tropics, although having more or less similar climatic conditions but combined with several
microclimates. As Tropics combine multicultural traits and microclimates, there is no defining “Tropical
Modern” typology; it’s a gesture to design that this architecture shares sensitivity towards vernacular,
cultural and climatic context. In the book, Florida Modern Jan Hochstim briefly categorized the evolution
of Tropical Modern varieties in Florida, but he also stated that these categories are applicable throughout
the global tropical horizons (Hochstim, 2004). And they are-

 Transitional
 Minimalist
 Organic
 Non-Vernacular
 Neo-Brutalist
The Transitional refers to bridging the gap between traditional and modern architecture, mostly represented
by traditional vernacular style roofs with open floor plan. The minimalist style grows with the ideas which
are strongly influenced by Mies’s and Gropius’s simple geometric open plans, maximum transparency, flat
roofs, expose steel or wooden structural grids and joineries, exposed concrete blocks or solid concrete
façade. The organic pattern incorporates nature into the built form, expresses fluidity and horizontality, and
integrates local materials like stones, woods. However, the core idea is influenced by the works of Frank
Lloyd Wright. The neo-vernacular style is inspired by indigenous cultural practices and manifestations of
a particular region. Pacific huts, chickee or bark shelters, pitched roofs, and verandahs, wood-framed
structures, wooden jalousies are used in this type of architecture (Hochstim, 2004).

189 |
 Figure 113: (Left) Bishop College by Geoffrey Bawa, (Right) Sarasota High School by Paul Rudolph
Source: www.google.com

Figure 114: Boys Hostel BUET

Source: Captured by Nayem Ahasan Srijon (Current Student of Level 3 Term 1)

Neo-Brutalist typology emerged in the 1960s and somewhere known as Beton-Brut, characterized by
exposed concrete structure and façade. Commonly expressed as precast tees and double tees creating
dramatic cantilevered roofs, verandahs and corridors; uncovered concrete block walls edged by precast
concrete columns and beams (Hochstim, 2004). Plans are generated from a simple rectangular geometric
layout against forthright circulation. Maximum built forms are multileveled and comprised of intertwining
spaces. Contrasting combination and juxtaposition of solids and voids signify a sculptural presence in the
built forms. Architect Geoffrey Bawa’s Bishop College and Paul Rudolph’s Sarasota High School can be
considered as examples of this typology (Figure 113).
Architect Boughey’s works could be categorized under the last category of Neo-brutalist typology as he
initiated the use of concrete as a primary building and structural material in his designs; he left the facades
uncovered or sometimes covered with white stucco for weather protection. His examples portray an
apposition of solid void massing and express truthfulness in structural arrangements (For reference Chapter
5 Section B1-B9, F1-F10, G1-G10, H1-H10 and J1-J10, Figure 114 and Figure 115). In this respect,
architect Boughey mentioned about his design of BUET Gymnasium where he initiated innovativeness
(bridge technology) towards structural design and made them as core design elements that express structural
clarity (Figure 116).In his words,

190 |
 “This is one of my favorite buildings, it is so simple and each element is clearly
expressed in its basic form. It was difficult to build so we used basic bridge technology
to overcome some of the structural problems. Materials are all local and used in natural
state. The beam is a sine-curve, used mainly in bridge.” (Boughey R. G., 2017-2020)

Figure 115: Priority on Using Concrete and responding to climate through design attributes; St. Joseph Higher Secondary
School, Boys Hostel BUET, Priest’ and Seminarians’ Residence, NDC; Kamalapur Railway Station (from left to right)
Source: Author’s Collection from RGB Personal Archive

Figure 116: Illustration by architect Robert Boughey about BUET Gymnasium

Source: Author’s Collection, Interview with architect Boughey

6.2.2 Regional Factors for Tropical Architecture

In the publication entitled “Hawaiian Residential Architecture”, Architect Harry W. Seckel, a member of
the American Institute of Architects, elaborated his ideas about the regional factors that contribute in the
evolution of Tropical Architecture in Hawaii. As regions in tropics share similar climatic, contextual and
socio-economic conditions, these factors are considered applicable for Hawaii as well as for the entire tropic
(Hochstim, 2004).

Seckel introduced an outline by intending about two different ideas or thought. First of them is considering
one architecture for different parts of the world. Globalization and technological advancement have made

191 |
it possible to build and design exactly the same building in anywhere the world. As he described, “They
serve the same purpose, are built with the same materials and techniques and are air-conditioned to the
same temperature and humidity. The regional factors that used to be so important are fading. Therefore,
the local differences in architecture are destined to disappear (Seckel, 1954)”

The other frame complies with the idea that architecture should respond with context, nature, climate rather
than being identical in various regions. In his words, “Man is not the same everywhere and never will be.
Swedes do not live and work in identically the same manner as Panamanians. Not only are their living
habits different, but so is the natural setting in which they live. Local materials and the local economy will
always be an influence on building and social influences will always vary from one place to another. Rather
than conform to a world-wide sameness, architecture should proudly reveal the unique characteristics of a
region that distinguish it from the rest of the world (Seckel, 1954)”

Now, by utilizing technological advancement it is possible to build buildings with the same comfort level
in anywhere around the world. However, by applying this method, will it not be contributing in dropping
the regional characters that segregate a place from others and make it idiosyncratic? According to Seckel,
seven Regional Factors influence designing in the tropics (Seckel, 1954). The factors are following-

6.2.2.1. Isolation
6.2.2.2. Materials
6.2.2.3. Economic Conditions
6.2.2.4. Climate
6.2.2.5. Setting
6.2.2.6. Cultural Background
6.2.2.7. Environmental Living
To understand how tropical regional factors have been addressed in architect Boughey’s works, in the
coming sections his building attributes (already identified and grouped in the previous Chapter 05) will be
matched with the factors and an attempt to trace the relationship between them will be conducted.

6.2.2.1 Isolation

According to Seckel if a region remains isolated physically, demarcated by the territorial difference a new
type of context-based architecture could be evolved. In this regard, he exemplified Hawai’i, although
Hawai’i is physically disconnected actually it is not aloof considering architecture types of tropics. In
tropics, the overall context both geographical and climatic is quite similar despite having geographical
separation (Seckel, 1954).
In the 20th century, this isolated situation is not mandatory because of technological advancement and
exposure of mass media, however, the difference between economic statuses has an impact on this situation.
In the 60s while the ‘Third World’ countries being recently liberated had a certain degree of economic
imbalance, for this there was a limitation in importing building materials, maintenance and construction
technique. Louis Berger Ltd was intended to use local construction material and technique (LBG, 2019)
and architect Boughey as the principal architect in this firm successfully accustomed to all these limitations
(Figure 117). He took it as a challenge and overcome in the best possible way (Wares, 1984).

In this respect Architect, Boughey mentioned in his interview,

“…..I was amazed when I got there (East Pakistan). I couldn’t believe that for such a
big country, there were only 5 architects. Anything and everything we designed got
built and I learnt a lot since we also had nothing to build with except bricks and cement.
Concrete structure using brick aggregate, brick walls, polished cement floors,

192 |
 whitewash walls. We had to improvise steel windows using steel angles and makeshift
hardware. The experience taught me a lot because it forced me to be creative in my
design with the least tools possible. We did not have the luxuries that you might find in
developed countries so we were forced to work with what we had. Not only that, we
realized that builders there weren’t specialized at all, they were mainly just laborers.
But, it’s amazing what you can do when you have practically nothing (Boughey R. G.,
Conversations with Architects, 2014)”
Architect Boughey was substantially aware of the local condition and his awareness could be identified in
his designed buildings as very few post-occupancy changes have been made in his buildings (See
Appendix). Because of his awareness and truthfulness to contextuality, functionality, adaptability, and
affordability while designing and construction, despite being not aloof physically with the other regions, a
significantly regional architecture grew in his hands in East Pakistan during the early 60s.

Figure 117: Construction of Kamalapur Railway station using local material and workforce
Source: Daniel Dunham Pioneer of Modern Architecture in Bangladesh by architect Rafique Islam

6.2.2.2 Material:

As Phyllis Richardson states in Living Modern Tropical, “The simplicity of a modernist building that
focuses on a few well-chosen materials has a more immediate connection to the surroundings, especially
when those materials are taken from or reflect the local natural resources” (Powers & Richardson,
2012).
According to Seckel, to define a local architecture there has to be an abundance of a certain material. He
explained,
“One could cite a long list of examples of distinctive architectural types resulting from an unbalanced
supply of basic building materials. There are indeed many island materials used in building. Among these
are local varieties of stone and, of course, coral. There are clays suitable to sustain brick manufacture and
there are deposits of sand and coarse aggregates for concrete and concrete block. Sugar cane fiber is used
as the basic ingredient in the manufacture of wallboards and other products. There are several species of
excellent specialty woods, notably koa, ‘ōhia and monkeypod. Bamboo and sisal are also locally available.
Insofar as these are distinctive, their use imparts local character” (Seckel, 1954).
Any local material reflects a region’s identity; it is visible when there remains a repetitive use of that
material. But sometimes many indigenous materials could be identified rather than one significant material,
in these cases a variation and a multidimensional use of materials in built form could be identified. Seckel

193 |
mentioned the case of Hawai’i and Florida, where various indigenous material and construction method has
been evolved throughout ages. Whatever the number of indigenous material used in an area, if it is unique
and native to its locale then certainly it imparts a character of that region and reflects significantly
identifiable building attributes.
Being located in a deltaic plain, the main construction material in Bengal throughout history has always
been earth and bricks made from earth. Two scenarios of construction are seen in rural and urban contexts.
In rural areas, buildings are made easily with available material mostly mud, which is subjected to fast
deterioration. In these cases, mud or earth has always been considered as prime material. On the other
hand, in an urban context, these quickly washable and deteriorative material has been replaced with
relatively permanent and predominant material that is brick. As Nazimuddin Ahmed described,
“The peculiar climate and geography of this remote eastern land, more than anything else, have shaped
the personality, art, culture, architecture, dress, tradition and the way of life. The land being essentially
deltaic and riverine, a rich deposit of alluvium is readily available for the manufacture of brick. This cheap
but excellent plastic medium logically encouraged the development of terracotta art, which in its variety
and richness, can hardly be equaled by any other country in the sub-continent of India. This explains why
brickwork has been the building material which dominates the traditional architecture of Bangladesh, often
embellished with intricate terracotta art on the surface” (Ahmed & Powell, Architectural Developments
in Bangladesh, 1985)
From ancient times, mud and brick have been broadly used in the Bengal region. Over time the material
was consistently used to express different architectural styles. From Buddhist Stupa, monastery to Hindu
temples; from sultanate mosques, Mughal pavilions to colonial churches, brick has always been an obvious
primary building material (Figure 118-124).

Figure 118: Account of Dacca, A Hut beside a Tomb (Mosque) by George Chinnery in 1816 (Left)
Source: Facebook Page of Dhaka - 400 years of history in photographs.
Figure 119: Rural Mud House, Bangladesh (Middle)
Figure 120: Two storied Rural Mud House, Bangladesh (Right)

Figure 121: Kantajew Temple, Bangladesh (Most left)

Figure 122: Paharpur Bihar, Bangladesh(left)
Figure 123: Shat Gombuj Mosque, Bangladesh (Most Right)
Figure 124: Oxford Mission Church, Barisal, Bangladesh (Right)
Sources: www.google.com , Figure 123 captured by Ar. Tahajibul Hossain

194 |
Architect Boughey was concerned about the local material and construction technique and used brick in
every building more or less. When there were no bindings of the uninterrupted span, he used a brick shear
and load-bearing wall to reduce cost as we can see in Chapter 5, B3-B4. In his other buildings, he used
brick as infill material in the concrete structural system. Boughey followed certain orders in terms of
material distribution. He prioritized the honest expression of the material. Brick is commonly used in his
every example (Chapter 5, J1-J9), but it is used depending on the type, function and spatial need of the
building. In his residential and institutional cellular buildings, he emphasized on modular combination,
where brick has been used with combination of concrete lintel, glass window and wooden door in the inner
layer and in the outer layer to give weather protection both brick and concrete elements has been painted
with white stucco (Chapter 5, J1-J6, J9, Figure 125). In congregational buildings, he used concrete as a
basic and prominent building material and bricks are used as filling material, again to reduce cost and
express contextuality (Chapter 5, J7-J9; Figure 126)

Figure 125: Use of locally available material in Priest and Seminarians’ Residence, NDC (Left)
Figure 126: Use of locally available material in Gymnasium, BUET (Right)
Source: Author’s Collection from RGB Personal Archive

6.2.2.3 Economic Condition:

According to Seckel, when there remains an imbalance between building material and the cost of labor,
there remains a chance of evolving a new type of architecture for a particular area (Seckel, 1954). Where
the cost of labor is relatively cheaper, intricately detailed and crafted architecture tends to flourish. Whereas
in developed countries where labor cost is significantly higher, a kind simple, less decorated, modular,
prefabricated and industry-based architecture tends to grow and expand. Here lies the challenge of building
with fewer labors and building quicker. This presuming concept aligns with the idea of minimalism and
modernism. It is not global phenomena to build with less budget, but this economic factor is predominant
while designing in tropics. This ultimately results in an innovative construction system. As he mentioned,
“Where an unusual relationship exists between the cost of labor and materials, a special type of
architecture can be expected to develop. Nothing is cheap in the modern American scene, but it is labor
rather than material that must be used sparingly. That is why the intricate handicrafts of the past have
disappeared from modern American buildings” (Seckel, 1954)
As Jaffrelot mentioned about the post-colonial economic context of Pakistan in his book A History of
Pakistan and its Origin, “The part of Bengal which became East Pakistan in 1947 was neglected under
British: a dormant economy except for jute; a lack of infrastructure; an under governed territory; a severe
shortage of modern elites, especially among the Muslims. Bengal which used to be the most flourishing
provinces in the subcontinent for the last two thousand years, it became a repository of extreme poverty”

195 |
(Jaffrelot, 2004). The economic progress rudely affected by the political crisis in between West and East
Pakistan. In a condition like this, the main challenge was how to build structures with less possible material
and quickest possible time. Labors were sufficient in amount but a significant percentage of them lacks
appropriate dexterity and trained skills (Dunham & Dunham, 2014).Despite having all these difficulties
architect Boughey accepted this circumstance and challenged to get the best out of it. As he described,

There were technical limitations, 50 years ago remember. No computer or any

sophisticated equipment to design or with which to build. The design office on Jinnah
office had no air-conditioning to begin with and most drawing instruments were made
from wood. Originally all the drawings were drawn in ink. We eventually switched to
pencil because it took so much time for the ink to dry, especially in the monsoon
period…..I was amazed when I got there (East Pakistan). I couldn’t believe that for
such a big country, there were only 5 architects. Anything and everything we designed
got built and I learnt a lot since we also had nothing to build with except bricks and
cement. Concrete structure using brick aggregate, brick walls, polished cement floors,
whitewash walls. We had to improvise steel windows using steel angles and makeshift
hardware. The experience taught me a lot because it forced me to be creative in my
design with the least tools possible. We did not have the luxuries that you might find in
developed countries so we were forced to work with what we had. Not only that, we
realized that builders there weren’t specialized at all, they were mainly just laborers.
But, it’s amazing what you can do when you have practically nothing” (Boughey R. G.,
Conversations with Architects, 2014) (Boughey R. G., DACCA Railroad Station,
2015).
In explaining how he emphasized on cost-effectiveness in his projects he mentioned about the Rajshahi
University Cafeteria, in his words,

“At the time I designed the Cafeteria, there was a high import duty on steel shapes.
Only locally produced reinforcing bars were available. We wanted a column free space
so a folded plate was used since it was economical and at the same time and most
importantly very beautiful. I still am fascinated by thin shell structures. Enclosed is a
recent one (last month)” (Boughey R. G., 2017-2020)
In addition to this architect Boughey added, “There were some peculiar requirements for buildings in the
Third World that did not occurs in the US. Low cost housing for example was a special need” (Hoskin,
1993). To reduce cost we can see architect Dunham and Boughey’s approach to use reusable formwork in
Kamalapur Railway Station and local construction technique (Figure 127 and 128). He attempted to design
with modules in every building. All building elements like beams, columns, shading devices, door-
windows, parapets, railings all are modular and are used repetitively to cut down the unnecessary cost of
customization (For reference Chapter 5 H1-H10 and I1-I10).
To increase efficiency and to reduce service equipment costs Boughey followed appropriate segregation
of served and service spaces with defined spaces (For reference Chapter 5, C1-C9). The same vertical
alignment and position of service spaces minimize ducting costs. To limit the footprint of buildings,
architect Boughey has designed circulations concisely with several intentional alterations (For reference
Chapter 5, D1-D9).
The cross-section area of a column is gradually reduced from the ground floor to the upper floor as loads
on the upper-level columns are lesser than the lower level (Figure 129, 130). This approach of the architect

196 |
expresses his awareness about cost reduction and effectiveness. To explain about coping up with the
economic challenges Boughey mentioned about his project Rajshahi University Cafeteria (For Reference
Chapter 5, Natural Light and air N9) in his words,

“It was designed to be very open as I think there were not even fans when it was built”
(Boughey R. G., 2017-2020)

Less deep buildings and East-west elongated orientation (For reference Chapter 5, Orientation A1-A9)
ensures natural ventilation and daylight penetration in all usable spaces (For reference Chapter 5, Natural
Light and Air N1-N9), thus reduces dependency on mechanical means of cooling indoor and assure cost
efficiency. Mutual shading due to the depth of masses (For reference Chapter 5, Depth of Mass G2-G9)
also contributes in reducing direct heat gain from being exposed to the Sun and thus ensures a reduction in
overall cooling load, energy consumption, and unnecessary costing.

Figure 127: Local Construction Technique used in Kamalapur Railway Station using reusable formwork (Left and Middle)
Source: Daniel Dunham Pioneer of Modern Architecture in Bangladesh by architect Rafique Islam
Figure 128: Local Construction Technique used in Rajshahi University Cafeteria
Source: Author’s Collection from RGB Personal Archive

Figure 129: East-West Elevation Boy’s Hostel BUET (Left)

Figure 130: Reduction of column cross-section from ground level to upper level (Clockwise)(Right)
Source: Drawings from Engineering Section BUET

197 |
6.2.2.4 Climate:

Relatively mild climatic conditions in the tropics allow different types of buildings to work simultaneously.
With the availability of air conditioning, the same environment could be created within any form of building
anywhere in the world. However, only because any type of building could be built in any region, it should
not be built disrespecting climatic uniqueness. According to Seckel, addressing climate is a key factor while
designing a regional architecture (Seckel, 1954). Although tropics share similar climatic traits, every region
has its own indigenousness and that should be addressed. Here the significance of Tropical Modernism lies,
it considers the modern obvious possibilities, scopes and aligns with regional factors that guide and
stimulate the design.

As Power and Richardson state in the book ‘Living Tropical Modern’, “So there are certain aspects of
modernist design that, although they may have originated in cooler European climates, lend themselves
perfectly to the tropics. The open-plan interior allows for the crucial circulation of air and light. A large
overhang roof provides a sheltered outdoor living area, shaded from the blazing sun but open to the fresh
air” (Powers & Richardson, 2012).

Extreme climate forces any architecture to be shaped and formed in a particular way like the desert
architecture of India. But mild tropical climate does not compel but welcomes a special type of architecture.
The above understandings suggest that Tropical Modernism could be understood as a perfect typology for
the climate. With the minimal approach in design, the state of comfort can be created. But it does not mean
that comfortable spaces here could be created without any effort. The challenge lies in how to scrutinize
among the good and the adverse effect of this climate. For example to let plenty of wind a gigantic aperture
cannot be given as it will bear the heat inside along with the ventilation. As Barreneche explains in tropics
architecture must avoid the negatives of climate and address the positive; here architecture should welcome
plenty of light but not the heat of tropical sun, let in the tropical breezes but not the whirling winds of
hurricane and protect indoor from rains but not skip enjoying it. (Barreneche R. A., 2006).

Figure 131: Architect Boughey’s note and illustrations about using louvers in East-West Façade
Source: Author’s Collection, Interview with architect Boughey
Bangladesh has a subtropical monsoon climate characterized by wide seasonal variations with rainfall, high
temperatures and humidity (Weather Online, n.d.). There are three separate seasons in Bangladesh; a hot,
humid summer from March to June; relatively cooler, rainy monsoon season from June to October; and a
cold, dry winter from October to March. Generally, maximum summer temperatures range between 30°C
and 40°C. April is the warmest month in most parts of the country. January is the coldest month when the
average temperature for most of the country is about 10°C. Heavy rainfall is a significant climatic trait of
Bangladesh as it is located in the foothills of the Himalayas, monsoon winds turn west and northwest and
that’s why northeastern regions here get the highest average precipitation.

198 |
In rural areas of Bangladesh, the most available and visible roof form is pitched whether it is made of thatch,
leaves or C.I sheets. The main intention is to drive away rain and the large overhangs protect walls from
receiving splashes of water and get damped. Architect Boughey took climatic conditions as challenges and
responded accordingly. His institutional and residential cellular space buildings are East-West elongated
(For reference Chapter 5, Orientation A1-A9) and his climatic consideration could be easily understood
from his interview illustrated in figure 131, 132 and 133. The shorter sides of the buildings are exposed to
East and West sides and longer sides are exposed to North and South sides to get maximum air circulation
and northern diffuse light (For reference Chapter 5, N1-N9).

Figure 132: Architect Boughey’s note and illustrations about how he addressed climatic considerations as building attributes.
Source: Author’s Collection, Interview with architect Boughey

Rain gutter, rain downs puts, and scuppers are inevitable and obvious building attributes that are
accommodated to drive away, channel out and most importantly celebrate the beauty of rainfall (For
reference Chapter 5 O1.1-1.3, O2, O5, O7-O9; Figure 131 and 133). By downspouts and scoopers,
rainwater has been collected and poured with a beautiful splashing rhythmic sound that creates a
harmonious and symphonic connection between the user, built spaces and Nature (Figure 134-136).
To protect the pavilion-like space of Kamalapur Railway Station (K.R.S) Architect Boughey designed a
perimeter Jali surrounding the main structure (Figure 137 and 138). This attempt to recognize his sensitivity

199 |
and awareness of climatic considerations while designing (Figure 139). To avoid the use of fans, he
designed the Rajshahi cafeteria as much open as he could. Daylight from the skylights and full height doors
when opened, give plenty of light and air (For reference Chapter 5 N9 and Figure 140). As daylight
brings heat inside, in his examples south sides are shielded with shading devices (For reference Chapter
5 O1.1-1.3, O2, O4-O9; Figure 141).

Figure 133: Architect Boughey’s note and illustrations about how he addressed draining rain in his buildings
Source: Author’s Collection, Interview with architect Boughey

Figure 134: Rain Downspout, Rainwater Collector/Gutter and Scoopers respectively (left to right) in Boys Hostel BUET,
Common Room and Prayer space, Boys Hostel BUET, Gymnasium BUET and RU Cafeteria
Source: Author’s Collection From RGB Personal Archive

200 |
 Figure 135: Rainwater Collector/Gutter in SJHSS (Left)
Figure 136: Rain Downspout and Rainwater Collector/Gutter in Civil Engineering Faculty Building BUET (Right)
Source: Author’s Collection From RGB Personal Archive and Engineering Section BUET

Figure 137: Sun protection jalis or grills were designed on the perimeter in drawing
Source: Author’s Collection From Architect Rafique Islam

Figure 138: Model Photograph of the peripheral jalis Kamalapur Railway Station
Figure 139: Model of Priest and Seminarians Residence, SJHSS
Source: Author’s Collection From RGB Personal Archive

Figure 140: Illuminated indoor space of Rajshahi University Cafeteria, provision of cross ventilation when wooden doors are
opened(Fans were installed latterly)
Source: Captured by Author

201 |
 Figure 141: Shading Devices used by Architect Boughey in his buildings (Clockwise NDC, Boys Hostel BUET, Civil Engg.
Faculty Building BUET, SJHSS and Holy Family Nursing School Hostel
Source: Source: Author’s Collection From RGB Personal Archive

6.2.2.5 Setting:

Setting not necessarily means topography and siting. Rather it includes vegetation and vistas of the
surrounding environment, in tropics, this setting is very interesting. Sometimes it combines with islands
among the vast sea, sometimes combines flat greenery land with lush vegetation and sometimes with
mountainous curved surfaces. As Powers and Richardson add, “In a tropical setting, the natural
surroundings are understandably a primary influence on the character of a house, whether it is set in the
thick growth of the rainforest, or a hillside above an ocean of swaying greenery, or huddled in an inlet,
where the steady push and pull of the tide signals the calm passing of time” (Powers & Richardson, 2012).

Designers face a challenge in blending their built form with the surrounding. This challenge particularly
becomes more difficult when the natural context is beautiful and where any manmade intervention seems
unsuitable and alien. Either the building sits on a lonely plateau like a farmer’s house in a small village of
Switzerland or building itself blend with nature both has different essence and sense of place. In the works
of Tropical Modernist Geoffrey Bawa, we can find a balanced harmony between manmade structure and
natural elements (Figure 142 and 143).

The view that a tropical house offer through dense forest, splashes of water or even from the valley creates
drama and curiosity in minds of users than an introvert European architecture. In the tropics, people
traditionally are grown up to spend more time outdoors. Village assemblage under a banyan tree is the

202 |
perfect example of a traditional comfortable space. A shed with minimum supports and no boundaries
provides maximum comfort. The variation in flora and fauna of the tropics even rectify spatial qualities,
physical attachments, and visual pleasure.

142: A hillside house in Switzerland (Left)

Figure 143: Works of Geoffrey Bawa (Middle and Right)
Source: www.google.com

Figure 144: Ground Floor Plan of Priest and Seminarians Residence, NDC
Source: Author’s Collection, Interview with architect Boughey

Figure 145: View towards the courtyard, Boys Hostel BUET

Figure 146: Rajshahi University Cafeteria
Sources: Author’s Collection

203 |
Architect Boughey described his intention towards awareness about the natural context of a site. He stated,

“… Architecture inevitably changes the environment, obviously it destroys or takes

away something of the natural surroundings, but it can also put something back”…We
have always paid great attention to site planning and landscaping, especially when
there were significant features to preserve or to use as major elements in the
design…..“….Now we pay more attention to landscaping perhaps as a reaction to the
deteriorating environment, we are very attentive to water and try to introduce some
element in every design; if it is not already present at the site, we add it” (Hoskin, 1993)
Architect Boughey followed two approaches while designing. Firstly, where necessary he accommodated
natural elements into built spaces and secondly, he designed compactly without unnecessary sprawling so
that the surrounding context could be kept intact and uninterrupted. His first approach could be seen in the
design of priest and seminarians residence of Notre Dame College (Figure 144). Here the ground floor plans
portray a very intricate camouflage of nature and built forms. Paths and corridors are integrated with low-
level greens and low height plinth creates a visual and physical connection with building and site. The same
thought could be identified in Boys hostel BUET (Figure 145). Leaving green spaces on both sides, the
corridor spine connects north and south with, canteen, prayer space, and common room block. In the
Rajshahi university cafeteria, informal seating towards the west side beneath large banyan trees creates a
dialogue between semi-outdoor spaces and outdoor spaces (For reference Chapter 5 L2, L9; Figure 146).

The architect’s second approach could be seen in his other buildings. Where he focused on the compactness
and designed buildings with a specific outline leaving surrounding landscape more open, uninterrupted and
clean for outdoor activities (For reference Chapter 5 L1, L4-L8).

6.2.2.6 Cultural Background

According to Seckel, the cultural background of a particular region contributes in defining the regional
character of a place. Culture can be identified as a regional factor in developing context-based architecture.
About culture, Greetz stated in "Culture is the framework of beliefs, expressive symbols and values in terms
of which individuals define their feelings and make their judgments" (Geertz, 1957) Cultural traits and
practices have influenced architectural patterns and spatial quality. As Rapoport explained, "Architecture
is a profession rooted in Culture" (Rapoport, 1969).

The strange climate and geography have influenced primarily in shaping art, culture, lifestyle, the
architecture of this deltaic eastern part of the Bengal region. Sufficiently available materials throughout the
history are earth, bricks, terracotta, bamboo, cane and reed, timber; this material combination helped in the
evolution of idiosyncratic curvature of the roof and when its cornice bring across the wall surfaces, it forms
a bow (Ahmed & Powell, Architectural Developments in Bangladesh, 1985). This is a very indigenous and
unique architectural typology found here, and often constructed over bamboo scaffolding to drive away
heavy monsoon rain (Figure 147). This typology is often termed as folk architecture. In the rural region of
Bangladesh, this root is still visible. Later this roof transformed into a masonry roof to make it more
permanent but keeping that sort of folk representation. The central dome bay of Shat Gombuj mosque, Jor
Bangla Temple of West Bengal or the roof of Abhaynagar Temple could be seen as those representations
(Figure 148). In Architect Boughey’s Architecture, he brought this conception or symbolic representation
in some of his works. (For reference149 and Chapter 5 Semiotic dimension K3, K4, K6, K7). He described,

204 |
 “At one time there were villages with curved roof shapes. Someone said it was the
nature of the bamboo that bent over time. I used this form in the sunshades to get some
traditional shapes that could be functional and not only decorative” (Boughey R. G.,
2017-2020).

Figure 147: Rural Traditional House (Left)

Figure 148: Jor bangla Temple, West Bengal (Middle) and Abhaynagar Temple (Right)
Source: www.google.com

Figure 149: Traditional influence in RGB’s Design of Holy Family Nursing School
Source: Author’s Collection, Interview with architect Boughey

Chronologically Indian history has seen cumulative alternating periods of schism and union in different
parts of the region. It is a version of a regular melee among the central core part of the basin of the Ganges
and its peripheral areas (Tayyeb, 1966). Foreign migration believed to add other significant dimensions in
the history of the Indian Subcontinent. The milieu of multi-culture and multi-faith existence in this
subcontinent is a result of the blending of native and foreign influences. Therefore, spiritual architectures
are seen as a definer of a periodic style. As stated in Banglapedia “In true sense, these spiritual buildings
have defined a specific architectural type or style of a country of a specific time” (Husain, 2007).

As a part of the Indian subcontinent, Bengal architecture evolved as an amalgamation of different spiritual
and cultural combinations. Buddhist, Hindu, Islamic and Christian cultures have an impact on Bengal

205 |
architecture. In the 1960s when architect Boughey came, this country was struggling to find out its own
identity after almost two hundred years of colonial subjugation. At that time, prevailing cultural ideas were
mostly traced as the pieces of evidence of Islamic representations. Dhaka’s Mughal fort, mosques,
mausoleums, caravanserais architecture gave some clues in the finding of the representations (Figure 150-
152). As West and East Pakistan have the majority of Islam practitioners, one of the best ways to unify both
nations was to give a similar cultural look, mostly expressed through the representational elements of
Islamic architecture like domes, pointed arches, arched corridors, arched gateways, etc. (Husain, 2007).
There must be some symbolic features in every government structures (Figure 153 and 154), the initial
stage of Kamalapur Railway station design went through this conception (Figure 88). Architect Daniel
Dunham initiated the design, further architect Boughey took it as a challenge and come up with the tricky
solution of giving an Islamic image in elevation but totally different ambiance while perceiving spaces
three-dimensionally. A comparative view could be founded in figures 155,156 and 157. As John Hoskin
stated in the book Robert G. Boughey,

“Although he admits to a possible influence in terms symmetry from western “classical” buildings and
from Mogul (Mughal) architecture, the latter reflected in his fondness for geometry” (Hoskin, 1993).

Figure 150: Sketch of Bara Katra drawn in 1874(Left)

Figure 151: Painting of Gateway of Nawab Bari (Middle)
Figure 152: South Entry of Lalbagh Fort by a British painter (Right)
Source: Facebook Page of Dhaka - 400 years of history in photographs.

Figure 153: Gateway of Dhaka New (Left)

Figure 154: Hotel Intercontinental (Midle) and Baitul Mukarram National Mosque in the 1960s (Right)
Source: Facebook Page of Dhaka - 400 years of history in photographs.

When architect Boughey was asked about the inspiration to work in East Pakistan he mentioned the
lifestyle, culture of Asia which mesmerized him. In his words,

“I remembered when I left America the first time, I met a girl in Paris and she knew an
architect in Geneva, Switzerland, so I went there. I worked with the team, one American,

206 |
 one Swiss, and one Indian architect. We got to do the Air India office in Paris. That was
my introduction to the exotic east: different music, ladies in Saris, eastern architecture,
and I thought “this must be an interesting place”. I really wanted to go to Asia and so
I went when the company Louis Berger said “We have some projects in East Pakistan
now. Do you want to go there?” And I said “Yes” So I went there and lived there for
3 years” (Boughey R. G., Conversations with Architects, 2014).

Figure 155: Kamalapur Railway Station, a rear view representing symbolic architecture
Source: Author’s Collection From RGB Personal Archive

Figure 156: Kamalapur Railway Station, differently perceived in three dimension

Source: Author’s Collection From RGB Personal Archive

Figure 157: Interior view of Shat Gombuj Mosque and Chhoto Sona Mosque, examples of spiritual and symbolic architecture
Source: www.google.com, www.flickr.com and Facebook Page of the Bongo Project

207 |
Architect Boughey was fascinated by the culture and traditions of South Asia. He was inspired by the
pattern of heritage architecture here. But he prioritized on a perfect amalgamation of functional and
symbolic presentation (For reference Chapter 5 H1-H9, O1-O9), indoor-outdoor relationship (For reference
Chapter 5 L1-L9) rather merely focused on pseudo emblematic depiction. He prioritized the living pattern
of people, how they comfortably use spaces, how the climate here contributed in developing a special
pattern of architecture (Figure 147).

6.2.2.7 Environmental Living

According to Seckel, the way an islander lives is significantly variant than the mainlander (Seckel, 1954).
This variant living, culture, customs have an impact on the evolution of a unique type of home or
architecture. In the tropics, for “perpetual summers” people tends to spend more time outdoors. Tropic’s
climate is unique, full of sunshine, plenty of wind flow and rainfalls; the variations are vibrant, the weather
demands more adaptive, extrovert architecture that can grasp the positives and be resilient to the negatives.
As Dean Sakamoto said about Tropical Modernist Ossipoff’s architecture, “His point was, you live in the
tropics . . . and if you box it up and air-condition it, you could be anywhere, couldn’t you? (Barreneche,
2011)

Architect Boughey shared his understandings of the differences between the living pattern in occidental
and oriental regions. In his words,

“….In the West everyone goes into a Cathedral, but in the East the people are outside,
they are not so involved with interior space, only the sacred image is inside the temple.
Angkor is a good example….This is the biggest difference between East and west, and
in my work I try to incorporate big public spaces and not draw an obvious line between
the public and the private….And with the building itself I like to design offices that give
everyone an outside view, not have them blocked in an inside core” (Hoskin, 1993).

From his points, it is visible that he was well concerned about the “Environmental Living” of the people of
tropics. He was concern about the openness and integration of indoor-outdoor spaces. In his public
congregational buildings where structures are single-storied and functional spaces sprawl under a super
roof, the spontaneity among indoor-outdoor spaces continues (For reference Chapter 5 L8-L9). The flexible
and non-rigid collaboration of indoor, semi-outdoor and outdoor spaces reinforced his understandings about
tropics.
In Kamalapur Railway Station, the transparency and free-flowing of spaces beneath the thin shell canopy
align with the idea of environmental living (Figure 158). The extemporaneity accentuates the inclusion of
different users and variant uses. Architect Boughey added in his words in this point,

“Yes, the railway station became quite famous in Bangladesh because everybody who
comes to the capital to find a job passes through the railway station. I’ve even seen
from photo books about people who came from upcountry, and couldn’t find a job,
sitting there and living there. It is a very dynamic place. A lot of people actually made
it their home. Lived there, had kids there, died there” (Boughey R. G., DACCA
Railroad Station, 2015).
Another building with congregational space, Rajshahi University Cafeteria, jointly designed by Architect
Daniel Dunham and Architect Boughey align with the idea of openness and adaptability. The raised

208 |
platform prevents floodwater penetration and ensures minimal interruption into the ground. Open verandah
surrounding central dining dilutes rigidity between indoor-outdoor (Figure 159, 161 and 162). When the
doors of the central dining area are kept open, a continuous free-flowing of spaces resembles the concept
of “Environmental living”, this building reminds us about the “Walker Guest House by Architect Paul
Rudolph in Florida, a true example of the tropical house (King & Domin, 2002) (Figure 160,162). In
residential and institutional buildings with cellular spaces, the ground floor connects surroundings with
building spaces (For reference Chapter 5 L1-L6) (Figure 163, 164).

Figure 158: Kamalapur Railway Station

Source: Author’s Collection From RGB Personal Archive

Figure 159: Rajshahi University Cafeteria (Left)

Source: Author’s Collection From RGB Personal Archive
Figure 160: Walker Guest House by Paul Rudolph (Right)
Source: https://www.paulrudolphheritagefoundation.org/

Figure 161: Rajshahi University Cafeteria

Source: Captured by Author

209 |
 Figure 162: Plan RU Cafeteria (Left) and Plan of Walker Guest House (Right)
Source: Prepared By Author and www.google.com

Figure 163: Boys Hostel BUET

Figure 164: Priests’ and Seminarians’ residence, NDC
Source: Captured by Author

Summary:
In the above points, it has been traced that architect Boughey was well aware of the regional factors of the
tropics. He took the challenge to amalgamate his modernist training ideas with the contextual need. He
prioritized considering all the above mentioned regional factors and adapt his design ideas to suit the local
climate and context. But he bypassed direct imitation of local cultural representations in terms of respecting
context, rather he emphasizes the inner meaning of the contextual necessity and responded adaptively
through designing building attributes that are functional and adaptive to the regional factors.

210 |
6.3 Critical Regionalism: Ten Points on an Architecture of Regionalism and RGB
through the lenses of Critical Regionalism

Paul Ricoeur Stated, “It is a fact: every culture cannot sustain and absorb the shock of modern civilization.
There is the paradox: how to become modern and to return to sources; how to revive an old, dormant
civilization and take part in universal civilization” (Ricoeur, 1965). The concept of universalization, the
progression of mankind and adapting the benefits of globalization is obvious in the modern world but it
also keeps a void and paves a path that silently destroys the traditional cultures, creative core of particular
civilizations and culture as well as moral and mythical nucleus of mankind (Ricoeur, 1965). Paul Ricouer
has suspected that the universalization of human culture persisting in the whole world, but this one-world
universalization tends to cause the loss of diversity and the vanishing of native traditions and cultures which
are the cores for any place. This is rather more consequent at the same time alarming for the developing
countries for their consistent struggle to be modernized and to remain in the roots.

Kenneth Frampton, an AA graduate architect, historian, and critic has worked on the topic of Critical
Regionalism to share his thoughts and views and he wrote several books on the evolution and interpretation
of architecture. Among his books and chapters Modern Architecture: A Critical History (Frampton, 1992)
and Studies in Tectonic Culture (Frampton 1995). “Towards a Critical Regionalism: Six Points for an
Architecture of Resistance” in 1983 (Frampton, 1983) and then revised "Ten Points on Architecture of
Regionalism: A Provisional Polemic" (Frampton, 1987) are the most significant ones.

The understanding of Frampton on the evolution and revelation of architecture will be applied in this thesis
to obtain and understand the concepts of contextualization, cultural individuality, and contemporary
architectural insistences.
Frampton clarifies that critical regionalism does not comply with the idea of pure vernacular architecture
which grew over time with the combination of culture, climate, myth, and crafts of a region. A region’s
heritage is not obviously an outcome of the cultures from ancient to modern, rather it is the amalgams of
diverse cultures grown and found through a part of that region. By this Frampton explains Ricoeur’s thought
that regional or native cultures nowadays have to be locally adjusted with the modern appearances of
universal culture and tendencies while retaining rootedness (Frampton, 1992). Although Frampton
criticizes the homogeneousness of modernism he does not avoid and neglect the technical values,
technological advancements, and cultural scopes that modernism has contributed to the built environments
for humans. Frampton actually intents to grasp an architectural language that rethinks native explanations
but echoes the technological capabilities of modernity. A built form may revitalize and reinsure old
traditions even in a modern setting with its tectonic form, compliance to the setting, social consequences
and architectural vocabulary (Frampton, 1992). For Frampton, this emblematic illustration of the past could
be revived through modern techniques and local material, this amalgamation could be seen in several
renowned contemporary architectures. Here Frampton noted about Danish architect Jorn Utzon's Bagsvaerd
Church (1976) and Japanese architect Tadao Ando’s work; he explained how they used modern materials
and how they represent an outline of reference for linking to regional factors and cultural heritage with
recent universalization.
Hence, Frampton's critical regionalism can be described not as a style, rather a process of acclimatization,
a critical classification that governs characteristics or attitudes that create coherence with particular
appearances of site, topographical setting, climatic conditions, environmental context and indigenous
cultural background articulated through inimitable structural configurations employing a contemporary

211 |
architectural language, thus firming regional uniqueness and subsidizing in place-making (Frampton,
1992).
Frampton first shared his understandings about critical regionalism in his book “Modern Architecture: A
Critical History”, in chapter 5, "Critical Regionalism: Modern Architecture and Cultural Identity."
(Frampton, 1992). Frampton's critical regionalism contributes to neutralize the missing of regional culture
forced by universal growth and technical advancement. In the article entitled, "Towards a Critical
Regionalism: Six Points for an Architecture of Resistance,” Frampton discourses the deteriorating form of
traditional culture and how our present technocratic world has moved society to the universalization of
civilization (Frampton, 1983). To counteract against being placeless-ness, Frampton proposes a simple
architectural category that emphasizes on the history, culture, and identity of a region at the same time
retaining globalized image and complying with universalization- which he describes as the “Architecture
of Resistance”. To elaborate on his concept, he presents a discourse with a theoretical framework with some
points. Initially, he proposed the following six points (Frampton, 1983)-

1. Culture and Civilization

2. The rise and fall of the Avant-Garde
3. Critical Regionalism and World culture
4. The resistance of the Place Form
5. Culture Versus nature: Topography, Context, climate, light and Tectonic Form.
6. The Visual versus the Tactile

Table 20: Towards a Critical Regionalism: Six points of Architecture of Resistance

Any of these six points represent significant concerns that grow with the notion of generating places under
contemporary surroundings. According to Frampton these points needs not to be followed sequentially, but
they have to be followed while designing the architecture of resistance, he rather emphasized on taking
initiatives under broad conceptual guidelines to emerge appreciation for regional indigenousness in practice
and cumulating a sense of place in different spaces. Latterly Frampton developed his thoughts and presented
the modified idea in his article “Ten Points on an Architecture of Regionalism: A Provisional Polemic”
(Frampton, 1987) with the same core concept of being rooted in the region with having prosperities of the
modern world; this article is more detailed, elaborated and comprehensive. The analysis of this thesis will
be based on the later article of Frampton containing the following ten points (Frampton, 1987)-
6.3.1. Critical Regionalism and Vernacular Form
6.3.2. The Modern Movement
6.3.3. The Myth and the Reality of the Region
6.3.4. Information and Experience.
6.3.5. Space/Place
6.3.6. Typology/Topography
6.3.7. Architectonic/Scenographic
6.3.8. Artificial/ Natural
6.3.9. Visual / Tactile
6.3.10. Post Modernism and Regionalism: A summation.

Table 21: Ten Points on an Architecture of Regionalism

6.3.1. Point 1: Critical Regionalism and Vernacular Form

A contrasting concept of “Regionalism” and “Critical Regionalism” could be identified through this point.
Frampton clarified that the idea of regionalism is linked with an emotional throwback to the vernacular, in

212 |
consequence, to which built-forms appears as embryonic, archaic, or inappropriate in present worldwide
trends.
In Frampton's view, vernacular way of designing was conceived from a core functional necessity with
limited resources available which sometimes lacks genuine artistic attitude, he emphasized in learning from
the aboriginal way out of the previous experiences (Frampton, 1987). Critical regionalism concludes that
the significance of customs in the built environment is not only infused in its architectural history, however
it lies in respecting definite features of site and climate to which it makes sufficient response.
Critical regionalism defines a type of architecture that expresses notions of modernity, portraying the
evolution of purposes into an enchanting art form blended with existing context and setting.

According to Frampton, with the sufficient use of locally available materials, construction techniques and
intelligent understanding and synthesis of how the vernacular react to climatic effects and topographical
changes, this first point could be accomplished.

Figure 165: Construction with Local Labors and local construction Technique
Source: Our Days, By Marry France Dunham

The core tactic for architects who initiate to represent Frampton's first point is to study, understand, and
redefine the local vernacular style of an area, they need to keep pace with contemporary built environments
at the same time preserving their origins by following vernacular references to generate a modern as well
as native reflection of indigenous traditional individuality.

This point is going to be applied to evaluate Architect. Boughey’s approach to design remaining in roots.
In Section 6.2.2.2 Material of this chapter and Chapter 5 (J1-J10), we have seen that how architect Boughey
used the most available local material brick in his almost all buildings and used locally existed and practiced
construction technique. Figure 165 shows how local labors, materials like brick and bamboo scaffolding
were used in construction. Even the ambitious thin shell roof was constructed with local labors and with
the support of bamboo scaffolding (Dunham & Dunham, 2014).
Architect Boughey tried to retain rootedness without falling back to stereotypical cultural representations,
rather he prioritized the modern conception keeping the vernacular intention of use. He used fin glass
windows in the Priest and Seminarian’s Residence Building. “Khorkhori Janala” or louvered window has
been used in Bengal architecture throughout history. The architect intended to ensure ventilation, air
penetration in spaces so he attempted using that vernacular element but in a modernized way with steel
framework, mechanized operating system, and glass fins to incorporate transparency and welcome light
while being closed. The architect also used brick Jalis to ensure transparency as well as to provide shades
despite using full glass to reduce cost (Figure 166). Architect Boughey tried to identify the actual meaning
of the vernacular use and then applied in his own vocabulary in response to climate by providing shading,

213 |
natural lighting, ventilation (For reference Chapter 5, N1-N9, O1-O9) and providing transitions spaces
between different rooms (For reference Chapter 5, D1-D9). He acclimatizes those traditional essentials to
his definite architectural layout and creates a modernistic arrangement.
While considering the spatial layout architect Boughey emphasized on incorporating indoor-outdoor spaces
simultaneously and traditional courtyard surrounding arrangements and pavilion-like ambiance could be
found in his examples (For reference, Chapter5 L2-L9).

Figure 166: Traditional “Khorkhori” Window (Left), Fine window used in NDC by RGB (Middle) and Brick Jali Used in
Boys Hostel BUET by RGB (Right)
Source: Captured by Author

6.3.2. Point 2: The Modern Movement

In the second point, Frampton recognizes the significance of modernism and advance technology for
producing new built forms. Here Frampton searches about the utilization of modern thoughts and
technologies which is inevitable regarding connection with globalist themes, existing universal trends, and
acquiescence with up-to-date necessities. Although modernism is frequently criticized for its distance from
native individuals and place, resembling the machine, having less human characteristics, and eradicating
active spaces; Frampton considers that modernism still offers applicable cultural orientations for a first-
hand architecture.
The cultural heritage in modernism is still of value regarding current global tendencies. Frampton argues
that it would be a mistake to dismiss a century of tradition because of the misuse of modernist concepts.
There are cases where critical regionalism truly shines as a complex cultural construct as, for example, in
the work of Frank Lloyd Wright, who according to Frampton, represents one of the few credible attempts
to create something with a sense of place and self. Wright's work stands out in his use of shape and scales,
while at the same time incorporating social and environmental sensitivity (Frampton, 1987). Significantly
it has to be mentioned, however, Frampton takes modernism as a way of nurturing present architectural
progress, he considers that proper investigation and evaluation of functionalism and pure forms originated
in modern architecture has the potential to be reimagined and reinforced in a tactic that improves local
uniqueness. Structural primacy and rationality is an important factor for designing, structural order and
construction technique have to be easily graspable, updated and advanced keeping the cultural and
traditional core concepts of a region. According to Frampton architecture resembles cultural politics and
modernism maintain relevancy for its cultural inheritance and its thematic legitimacy towards place-making
(Frampton, 1987).

214 |
Architect Boughey’s modernist training helped in pursuing modernity in his designs. Use of clean lines in
formal expression, orthogonal non-decorative walls, honest expression of materials and simple solid –void
volumetric composition are identified in his examples (Chapter 5 H1-H10, J1-J10, and F1-F10). Rationality
and clarity in structural arrangements are identified in Boughey’s designed works (Chapter 5 B1-B9). Le-
Corbusier’s Post lintel “Dom-inno” concept of modernist structural layout and concept of “Free Plan” is
identified in his all congregational space buildings (B7-B9) and maximum residential and institutional
buildings (B1, B2, B5, B6). All elevation treatments have come up with a special cause and purpose in his
buildings. External building attributes such as rain downspouts, spouts, drop wall, brise soleil, louvers, and
railings are accommodated as a functional element rather for pseudo elevation decorations (Figure 167).
Another modernistic approach is to design in modules and specific standards to use industrial and
prefabricated products and to reduce construction costs. Architect Boughey’s every building comply with
this cost-effective approach in designing. He accepted the modular approach from doing window details to
structural layout to increase construction efficiency (For Reference Chapter 5, I1-I10)

Figure 167: Structural logic and functional purpose of elements expressed in formal appearance which is a sign of
Modernism, From Left-right (a. NDC, b. Boys Hostel BUET and c. RU cafeteria )
Source: Captured by Author

6.3.3. Point 3: The Myth and the Reality of the Region

In this third point, Frampton pursues to form the bounds of an area and its formal eminence. This point
discovers how region as a formal and informal institution impacts on local scenario and understanding of
places, as well as function and form of native construction or built-form. According to Frampton, it’s
inaccurate to understand a region only by its locality and climate, although they do figure-out the
architectural form. Frampton mentions the prominence of the region as an institution, here he points out
that it inherits a bunch of thoughts, architectural category and archetypal homegrown beliefs (Frampton,
1987).
“Schools” must be formed according to Frampton, while considering critical regionalism to be successfully
established. These schools are actually abstract traditional institutions that are deliberated as myths. To
Frampton, the word “myth” does not stand negatively with bogus, fallacious or doubtful, rather with the
prominence of adored precedential evidences and connotation with the sumptuousness of an area. Presently,
regions are far more intricate and demarcated by political margins, myths can assist as a promoter of
optimistic alteration in place making. It must be elucidated that Frampton is not proposing the imitation of

215 |
an orthodox intuition of place, but rather using “myths” as allusions for integrating inimitable cultural
identity and eminence of place to original progress in a particular region (Frampton, 1987).
Architect Boughey was inspired by the symmetry and geometric patterns of Mughal Architecture and Asian
culture. These cultural notions acted as regional myths for him. But in spite of representing these archetypal
qualities stereotypically, Boughey chose to be selective and adaptive (For reference Chapter 5, H1-H10 and
K1-K9). As he mentioned

“At one time there were villages with curved roof shapes. Someone said it was the
nature of the bamboo that bent over time. I used this form in the sunshades to get some
traditional shapes that could be functional and not only decorative”. (Boughey R. G.,
2017-2020)(Figure 149)

Kamalapur Railway Station is another supportive example to this point, wherein elevation the stereotypical
Islamic representation by the pointed arch is attained but when perceived three-dimensionally, the
experience is totally outstanding and challenging to the pre-conceived myth.
He prioritized reality rather a myth. The city of Rajshahi faced a severe flood just before the planning of
the University Cafeteria. So this building was designed on an elevated platform to avoid floodwater
penetration (Figure 167c), here architects have focused on the actual situation, context, and considerations.
He also mentioned about considering economic conditions as reality rather than being too ambitious about
his design. In his words,

“It was designed to be very open as I think there were not even fans when it was built’.
At the time I designed the Cafeteria, there was a high import duty on steel shapes. Only
locally produced reinforcing bars were available. We wanted a column-free space so a
folded plate was used since it was economical and at the same time and most
importantly very beautiful. I still am fascinated by thin shell structures” (Boughey R.
G., 2017-2020)

6.3.4. Point 4: Information and Experience

"Information and Experience", Frampton explains about the adverse effects on the misinterpretation of a
place's essence by viewing its images or its representation by the mass media. This pseudo presentation
creates a surreal image of particular places due to easily accessible and extra-exposure of mass media,
which affects a place’s native definition and ultimately results in a serious reduction of a place’s experiential
quality (Frampton, 1987).

According to Frampton, this results in built-form to be expressed as a sequence of picturesque views rather
than a multisensory experience articulated in that spaces of that built-form. This is why he highlights
distinguishing between external information and real experience of place.
This point is very important regarding Boughey’s experience in this context. Architect Boughey was one
of the very few architects who stayed while designing and experienced both physical, social and economic
conditions of the places in which he had to design. So for him, the chances to be provoked or influenced by
any representation or images were very less significant. We can only have a few similarities concerning
picturesque quality with the design of Kamalapur Railway station and Holy Family Nursing School, where
he put some effort in scenography but only in elevation with main focus on functional necessity, not in
volumetric perception. In his words,

216 |
 “I was amazed when I got there. I couldn’t believe that for such a big country, there
were only 5 architects. Anything and everything we designed got built and I learnt a
lot since we also had nothing to build with except bricks and cement. Concrete structure
using brick aggregate, brick walls, polished cement floors, whitewash walls. We had to
improvise steel windows using steel angles and makeshift hardware. We had to do
blue prints outside, so that you didn’t get sick with ammonia fumes. They had a box,
you put paper inside, put in ammonia, and put the negative in and it turned blue. We
originally had heavy teak T-squares which were never quite 90 degrees. So we
developed parallel rulers. Everything was drawn in ink, that took forever to dry because
it was so humid. We built many buildings, a few universities in Bangladesh. I even
designed their main railway station. The experience taught me a lot because it forced
me to be creative in my design with the least tools possible. We did not have the luxuries
that you might find in developed countries so we were forced to work with what we had.
Not only that, we realized that builders there weren’t specialized at all, they were
mainly just laborers. But, it’s amazing what you can do when you have practically
nothing” (Boughey R. G., Conversations with Architects, 2014).

6.3.5. Point 5: Space/Place

By this point, Frampton reconnoiters the active and socially interactive spaces of a built-form or an
architectural complex as well as the mutual connections of these spaces with the bigger contextual
framework of place (Frampton, 1987).
According to Frampton any building should never be thought of as an aloof object, but rather as associated
and linked by the individualities of place, such as native livelihood, idiosyncratic social framework and the
behavioral pattern of its inhabitants. Here, Frampton differentiates among the physical space of an area and
the place where human and social interactions take place. Architecture or built-form indeed encompasses
spaces, but its territory should not be perceived as a physical and visual demarcation rather it should be
conceived as a threshold.

In this talk, Frampton critiques the gigantic type of municipal growth, supporting with the idea of Melvin
Webber that there is a propagation of “communities without proximity," or a “non-place urban realm”
mentioning the deficiency of local principles and beliefs in the progression and formation of cities
(Frampton, 1987). Critical regionalism pursues to stimulate local value through a vibrant flow between
space and place that allows an amalgamation of architecture to its contiguous urban context.
Frampton highlights on the necessity to scrutinize the spatial layout which means the site plan or master
plan around a piece of built-form and to study how it surrounds space, unites different zones, allots
movement, permits admittance, forms departures, and accomplishes the structural configuration to be
exposed to the outward values of that place.

Architect Boughey prioritized concern about site planning. Although all sites of his buildings are a part of
either campus compound (University/School) except Kamalapur railway Station; his understandings about
sites contributed in his design and planning. Architect Boughey denotes,

“…We have always paid great attention to site planning and landscaping, especially
when there were significant features to preserve or to use as major elements in the

217 |
 design…Now we pay more attention to landscaping perhaps as a reaction to the
deteriorating environment, we are very attentive to water and try to introduce some
element in every design; if it is not already present at the site, we add it” (Hoskin,
1993)

Figure 168: Master plan of Kamalapur Railway station (Left)

Figure 169: Master plan of Boys Hostel BUET (Right)
Source: www.googlemap.com

Figure 170: Ground Floor Plan of Priest and Seminarian’s Residence, NDC
Source: Author’s Collection From RGB Personal Archive

Kamalapur Railway Station, main station and suburb stations are connected by platforms running towards
north-south direction. All functions are accommodated beneath the super roof of the main and suburb
station. Compactness is visible all through leaving lushes of greens uninterrupted (Figure 169). While
considering the master planning of Boys hostels, BUET a visual connection between three hostels could be

218 |
identified although latterly done different alterations in road layout has interrupted in physical connections.
Site planning ensures leaving courtyards that connect the north and south blocks of hostels at the same time
encourages outdoor activities and interactions of the resident students (Figure 169).

Despite having modernist training from the west, when he came to practice here he was well aware of the
context and lifestyle of the people of the east. As he mentioned,

“….In the West everyone goes into a Cathedral, but in the East the people are outside,
they are not so involved with interior space, only the sacred image is inside the temple.
Angkor is a good example…This is the biggest difference between East and west, and
in my work I try to incorporate big public spaces and not draw an obvious line between
the public and the private” (Hoskin, 1993)
While talking about his current practice in Bangkok architect Boughey mentioned about the necessity to
integrate natural environment and landscaping. He emphasized energy-saving and avoidance of disturbing
the integrity of the plot and its context. He believes that every site has its own history and identity and most
importantly a living community; every architect should respect the uniqueness of the environment and the
community (Hoskin, 1993).
From chapter 5, L1-L9 and M1-M9, it is evident that he was concerned about the indoor-outdoor
relationship. Open and landscaped ground floor incorporated segments of outdoor spaces within indoors
(For reference Chapter 5, L2, L3, L5, L9 and figure 169). When there was a requirement to accommodate
functions on the ground floor he prioritized the compactness of the ground floor to keep outside and
surrounding spaces uninterrupted (For reference Chapter 5, L1, L4, L6, L7, L8). In multistoried buildings,
verandahs and corridor walkways maintain a visual connection with indoor towards outdoor (For reference,
Chapter M1-M6, M8). These examples correspond with the architect’s idea of accommodating an open
plan (Figure 170), focusing on the flow of spaces rather than introvert indoor space like the design of
occidental regions. He added to his thoughts by these words,

6.3.6. Point 6: Typology/Topography

In this point, Frampton recognizes and describes these two components, affirming that they are significant
aspects required for forming a built-form that shares regional cultural background simultaneously reacting
sufficiently to the aspects and values of the elemental morphological landscape. Typology and topography
intricately affect the configuration, orientation and form of the built environment are phenomenally affected
by typology and topographical characteristics of a place and at the end contribute in creating a regional
identity (Frampton, 1987).

In Frampton’s view, typology has resulted in the evolution of civilization and the long nurturing of cultures.
It reveals the cultural fruition of human settlements as they familiarize to a place and respond to definite
regional merits, with a vernacular value which grows and transfers with time and becomes a
representational component acknowledged with that particular place. In contrast, the topography is more
tangible, site-concentric and complies with the in-built form of the prevailing natural setting as plays a vital
role in attaining the individualities of a specific place. Architecture should be inevitably integrated with its
surroundings and with its natural landscape in spite of acting as an alien free-standing object on a site.
Bangladesh, a sub-tropical deltaic country got liberated in 1971 and before that, it was a part of Pakistan
till 1971 and part of India before the partition of 1947. Both the geographical and geopolitical location of

219 |
the country gave rise to cultures and customs that made this region culturally and ethnically very rich,
unique and content. In chapter 2, the diachronic and synchronic history of the Indian subcontinent has been
elaborated to define the architectural and social-political context. Due to the strategic location of Bengal,
the multi-cultural and multidimensional influences played significant roles in shaping the cultural identity.
And the architecture of this region obviously was influenced and formed with time. Particular formal and
traditional factors not only acted as constraints but sometimes they were pure sources of inspiration that
made this region’s architecture more content (Islam, Ashraf, & Powell, 1985).

The topography and climate have always played an important role in defining cultures. The topography of
Bangladesh is mostly low-lying, flat land and crisscrossed with countless rivers and sub-rivers. Soil is
alluvium, sediment by the river and perfectly acts as a common material for building in rural areas in raw
form and as bricks or tiles in urban areas. Due to heavy rain during four months annually and as the Tropic
of Cancer, at 23 degrees North moves through the middle of the country, this country constantly changes
color with intense vegetation growth. The temporality of mostly available material soil was counteracted
by divergent solutions, one of them was using long expanded shades and curved roof to drive away rains.
This became a cultural representation throughout the Bengal. In this chapter, under Seckel’s sixth regional
factor “cultural background”, the impact of cultural and traditional notions upon architect Boughey’s works
has been thoroughly explained. This region’s culture, customs, and lifestyle had acted as a triggering point
for Architect Boughey to come and practice here. As he mentioned,

“That was my introduction to the exotic east: different music, ladies in Saris, eastern
architecture, and I thought “this must be an interesting place”. I really wanted to go to
Asia and so I went when the company Louis Berger said “We have some project in East
Pakistan (Bangladesh) now. Do you want to go there? “And I said “Yes” So I went
there and lived there for 3 years” (Boughey R. G., Conversations with Architects, 2014)

The points H1-H10 and K1-K10 of chapter 5 could be considered here, where he has accommodated
cultural aspects not merely in a semiotic way in his building attributes rather he designed them as functional
elements. He emphasized on the climatic considerations (For reference Chapter 5, A1-A9, N1-N9 and O1-
O9 respectively) and outdoor centric living of this region’s people and contributed accordingly with open
plans, interesting circulation walkways, integrated indoor-outdoor spaces, visually and physical connected
spaces (For reference Chapter 5 B1-B9, D1-D9, L1-L9, and M1-M9 respectively)

6.3.7. Point 7: Architectonic/ Scenographic

In point seven, "architectonic/scenographic," Frampton found the significance of architecture to be

cherished as a complex form, recognizing the amalgamation of visual properties, spaces and artistic
composition as a united object not just as visual consecutive scenes (Frampton, 1987). This point search
for acknowledging the qualities of architecture as a cohesive experience, it is actually a synergy of places
that interacts with each other, not as a sum of different parts and this point focus on designing syncing built
form with spaces instead of vaguely creating superficial vistas.

To Frampton, the common term architectonic not only expresses a term associated with the practical aspects
of a built form, rather as the allegorical reality of physical attainments (Frampton, 1987). According to
Frampton, a building should display how its various components correlate and intermingle with nature,
expressing its capacity to counter against climatic conditions and temporal bindings.

220 |
In contrast, Scenography is explained by Frampton as originating from the Latin word "scena," meaning
scene and therefore being fundamentally embedded in nature (Frampton, 1987). Frampton identifies how
these ideas can be conceived as divergent elements where architectonic stating to a man-made structure that
adjusts to its setting versus scenography, which is considered a scenic perception of the natural setting and
landscape. Regarding this, Frampton criticizes the present inclinations towards introducing architecture as
a series of appealingly intricate scenes rather than expressing it as a physical arrangement that bears
profound human value and responsiveness towards the surrounding natural setting. Frampton considers that
any architecture has to be valued as a physical achievement that amalgamates and blends itself to the
adjacent context in order to offer an in-depth sensitivity towards the place.

In this respect, how Boughey accomplishes the physical components of his buildings to express regional
values, traditional culture and balance the natural landscape without decreasing his visual pattern to a
sequence of picturesque orders will be discovered here. According to architect Boughey,

“Good architecture invariably grows as a part of the location and situation.

Historically it normally grew from a settlement, a fortification, a group of dwellings, a
place of commerce or worship... And although it is the fashion to talk about Fung Shui,
the underlying elements of good architecture have always been concerned about
natural phenomena. For example. A site or orientation is chosen because it has good
security such as being located at the base of a mountain. A requirement of common
sense” (Boughey R. G., Perception of Architecture, 2008)

When Boughey came to practice, literally the main challenge was to design and construct with minimum
resources. There were no luxuries, special consideration was given to the cost efficiency both of
construction and maintenance. So Boughey emphasized the available tools and technique, focused on
functionality, necessity, and rationality rather than being ambitious. His minimal approach towards
structural logic separated served and service spaces and using modules while designing and constructing,
align with the idea of his rational approach towards design (For Reference Chapter 5, B1-B9, C1-C9, and
I1-I10 respectively). Focusing on a specific vista or highlighting on elevation treatment was almost missing
in his examples. Slightly scenographic quality could be seen in the Kamalapur railway station and Holy
family nursing school, but in both cases, visual properties have been transformed into functional elements
and perceived differently when experienced physically (For reference Chapter 5, K4, K8 and H4, H8).
Every physical and spatial attribute in his designed buildings is functional.

6.3.8. Point 8: Artificial/Natural

Here Frampton’s focus is recognizing essential artificial and natural elements in order to create a place
sensitive and environmentally responsive architecture and the way they could be best used to ameliorate
the physical, spatial and functional qualities of the building. According to Frampton, it is equally important
to look into designing premises that are most advantageous for integrating and adapting local climatic
conditions as well as search for a balance that delivers both interactions with place and comfort that
improves the quality of life for the inhabitants. Frampton emphasizes in our reliance on technology to make
a better environment but not ignoring the prevailing qualities and conditions of a place. A slight ignorance
could result in placelessness. A universal culture of non-natural comfort may eradicate nature’s diversity

221 |
and repudiate the prospects for diverse experiences of place according to the locality. Our recent tendency
is to create a universal standard for experiencing the immediate landscape, persistently disregarding natural
topography with the means of replacing it with simply reachable and accessible flat floors. In addition to
that reducing climatic experience of a region by enfolding spaces to generate a controlled climatic condition.
As Lisa Heschong stated in her Book “Thermal Delight in Architecture”, “our observation about the
thermal environment creates scopes and offers us with a variety of emotional connections and affections
with a place. Replacing environment and climatic qualities of a certain place with global thermal standards
could absolutely take away a place’s true essence and will vanish ourselves from a place” (Heschong,
1979)
Architect Boughey was well concerned about retaining cultural values along with climatic considerations.
Climatic considerations in his designs have been elaborated in this chapter’s section 6.2.2.4: Climate. The
building attributes designed for allowing natural light-ventilation and to give shades from sun and rain were
identified in Chapter 5, from N1-N9 and O1-O9. While architect Boughey was asked about Boys Hostel
BUET he mentioned his design considerations to adopt natural resources (Figure 171). In his words,

“The rooms were to be naturally ventilated. Rooms were placed so to catch the
prevailing breeze. Building were to be easy to maintain since the students change as
the years progress…. Rain Removal often an afterthought, this project recognized
rain/sun protection and rain condition…Toilets act as protection on East and West
elevations and provide maximum air movement” (Figure 171)

Figure 171: Architect Boughey’s explanation about Boys Hostel BUET

Source: Author’s Collection, Interview with architect Boughey

222 |
 Figure 172: Architect Boughey’s explanation about BUET Gymnasium
Source: Architect Boughey’s explanation about Boys Hostel BUET

The first attempt he took to reduce heat gain is placing every building in East-West elongated orientation
to get maximum exposure to North and South for ensuring cross ventilation (For reference Chapter 5, A1-
A9 and N1-N9). South elevations are treated with sun protection devices like drop walls, louvers, sun
breakers, brise soleil, etc. (For reference Chapter 5, O1-O9 and this chapter climate, Figure 171 to 172).
Connection to local settings, accommodating natural resources and integrating indoor-outdoor spaces made
his architecture more practical, natural and less artificial. His context-based design approaches have been
identified and illustrated in Chapter 5, L1-L9; while the reasons and method have been elaborated in this
chapter’s Section 5: Setting.

6.3.9. Point 9: Visual/Tactile

At this point, Frampton’s focus is on elaborating on the concept of acknowledging and incorporating
different human senses to improve experiential quality and individuality in order to create formal and
functional coherence. According to Frampton, we now are more focused on giving any architecture an
aesthetically pleasing view, more concerned about visual pleasure rather than the experiential quality using
our senses. The potentiality of architecture and its spaces do not only comply with pictorial characteristics,
but the tactile quality is also an integral part of the success of any architecture. As Juhani Pallasma proposes
in The Eyes of the Skin, our concern should be in searching "a new vision and sensory balance” (Pallasma,
1996)
To Frampton the experience which is associated with different senses forms an intimate bonding with the
built environment; these more attached scopes enhance the individuality of a place as well as help in the
denial of a technocratic universal attitude. In order to entirely grasp local qualities, every sense has to be
combined in the experience of a built form, set in a particular place. Critical regionalism admits and
appreciates this notion; it stimulates the use of materials that have certain local belongingness, offers
particular physical reactions and offers regional periodic changes. Multisensory experiences expressed in
the context of modern buildings may make fresh, exclusive and native familiarity with a place.

Architect Boughey prioritized using local material, available tools, and techniques. The main concerns were
to ensure cost efficiency but additionally, this attempt created a certain sense of belongingness with the
context. Boughey used soil burnt bricks, which is the most popularly used material and at the same time
cost-effective. He focused on the natural use of material, expressed his honesty towards material
distribution. Textures, colors and elemental arrangements create a visual as well as tactile connection with

223 |
the users. Related thoughts to this point have been explained in detail in Chapter 5, J1-J10 and H1-H10 and
in this chapter’s clause 2: Material.
While architect Boughey was asked about Gymnasium BUET, he mentioned considering local materials
and using them in an unadorned way (Figure 173). In his words,

“This is one of my favorite buildings. It is so simple and each element is clearly

expressed in its basic form. It was difficult to build so we used basic bridge technology
to overcome some of the structural problems. Materials are all local and used in natural
state” (Boughey R. G., 2017-2020)

Figure 173: Illustration by architect Boughey about BUET Gymnasium

Figure: Author’s collection Interview with Boughey

6.3.10. Point 10: Post Modernism and Regionalism: A summation.

Ultimately, this point is a summary of critical regionalism and the potential ways architecture may take in
the upcoming future. At this point, Frampton classifies leaders of post-modernity and separated them into
two sets: the "neohistorics" and the "neoavant-gardists." The neo-historians consider that the avant-garde
is not enough and quest to discover new denotations in architecture with the renewal of old customs and
traditions, while the ‘neoavant-gardists’ cut off all influences of traditional and cultural principles and
search an alternative and completely new language (Frampton 1987).
Regarding the idea of postmodern architect Boughey denotes,

Up until the late ‘50s and ‘60s, everyone studied more or less in the “classical”
tradition with teachers trained by the Bauhaus or the US East Coast Harvard School.
So architects had classic, basic information and buildings followed certain
fundamentals. Then people began to complain about this international style, that every
building look the same, that every city in the world was coming to look was coming to
look the same. Then you had the so-called “Postmodern” movement and everyone was
given freedom to express, freedom in building style, like a license to kill….. When you
have an absolute free hand, then you must be a better artist than the next guy” (Hoskin,
1993).

“….It really is important to understand the cultural and physical precepts of a place.
One of the reason I stopped doing work oversea from here is that I realized I did not

224 |
 know enough about local conditions to make an impact. I did some work in Iran and
other places but I don’t know the countries well. You really have to know the country
well to design something successful and appropriate” (Hoskin, 1993).

“(It would be) Nice to live and work in 20 different countries,” then he understood,
“You can only work (as an architect) in the country where you live and which you
understand” (Hoskin, 1993).
To architect Boughey it is most important to understand a place and its contextuality. He was not interested
in the ideas of so called postmodern movements, rather he doubts about stylistic identity crisis as everyone
may grow their architecture according to their choice disregarding context and principles.

Summary:

In the above points, Frampton’s general standpoint on assimilating modernism and cultural values of a
region has been elaborated and Boughey’s perception, understanding, and designed building attributes have
been sequentially investigated through these points.

Frampton's theory generates scopes for representing cultural traits, traditional values, and contextuality in
a suitable contemporary way; this way is logically accepted, flourished and appreciated at a global level,
appreciating zero loss of individuality, ensuring indigenousness and cultural heritage. This is the essential
significance of critical regionalism and it evolved as an idiosyncratic theme in architect Boughey's designs;
which results from assuring a profound connection to place, simultaneously exhibiting a thoughtful
understanding of modern techniques, aesthetics, social and economic certainties.

The following Table (Table 22) summarizes about tracing the relationship between specific building
attributes and the tenets of general architectural philosophies.

225 |
Table 22: Correlation between the design attributes in the works of architect Boughey and Relevant architectural Tenets
(Regional factors of Tropical Architecture and Critical Regionalism)
Source: Prepared by Author

226 |
6.4 Conclusion:

Following the partition of British India, the two distinct countries India and Pakistan received services from
a number of foreign architects who had thoroughly contributed in shaping the newly emerging post-colonial
countries’ architectural as well as cultural outlook. The contributions have been briefly discussed in section
2.2.4 and 2.2.5 of Chapter 2.
Robert G. Boughey came along with other foreign architects in a geopolitical protocol and happened to
practice here as a part of the Louis Berger Ltd (LBG), a behemoth in infrastructural development,
particularly providing support in the “Third World” countries. Architect Boughey came to East Pakistan in
September 1961 and practiced until the end of 1964. These three years of experience have a significant
impact on making a move in his career. The experience gathered in East Pakistan triggered his interest in
Tropical Architecture and later, he went to study about this topic in the Department of Tropical Architecture
in AA School. At the very beginning of his career, he wanted to work in different countries to explore
different places and design ideas, but ended up concentrating on designing in that context which he
understands the most.

As discussed in this chapter Architect Boughey’s way of designing aligns with modern ideas and reflects
his background of modernist training. For further scrutiny, an attempt has been taken to trace the
relationship between his specific building attributes and the relevant tenets of architectural theories (Chapter
5 and 6). From that analysis, it has been found that the works of architect Boughey reflect the ideas of
Tropical Modernism, a unique approach to design for the tropics. Neo-Brutalist typology, a category of
Tropical Modernism, emerged globally in the 1960s, exactly at the time when architect Boughey just started
to practice in this country. The characteristics that portray this concept, were visible in the local examples
of architect Boughey as discussed at the end of section 6.2.1. From section 6.2.2 (6.2.2.1-6.2.2.7) it is clear
that he was well concerned about the regional factors of Tropical Architecture and consciously or
subconsciously attempted to practice the concept of Tropical Modernism.

Robert G. Boughey was sympathetic enough to develop his architecture to suit the need of this country, in
terms of climate, culture, economy and technology. He used local material and available construction
technology to reduce overall cost as cost efficiency was also one of the main challenges that had to be
adopted and proceed.

His building attributes emerged out of his respect and faith for climatic considerations. As discussed in
section 6.2.2.4, every building attribute follows a specific function and designed to serve specific purposes.
He consciously addressed the most challenging climatic trait of our country, heavy rainfall. His uniquely
designed “Rain Devices” was adopted to suit this climate, but the way he designed this function was
dramatic and aesthetically pleasing, it was never like an afterthought. At the end of the discussion of section
6.2, it was clear that architect Boughey could be identified as a Tropical Modernist through his practice in
the context of the 1960s.

Critical Regionalism, the term was first coined by architectural theorists Alexander
Tzonis and LianeLefaivrein 1981, in ‘The Grid and the Pathway’. Later the concept of this epoch-defining
theory was deliberated as an essay by architectural theorist Kenneth Frampton in 1983 and 1987. Frampton
was reacting to an idea, specifically the intrusion of postmodernist architecture in cosmopolitan hubs

227 |
globally. Combining heterogeneous architectural styles with enhanced technology was not considered
positive in terms of modernization’s consequences. In contrast to this business-oriented trend of vague
grandiloquence, Frampton anticipated an architectural approach possessing critical consciousness—an idea
that could create an explicit essence of identity by apprehending and adopting to universality as well as
sticking to the origins of local contexts.

In terms of finding the relationship between Architect Boughey’s specific buildings attributes with Critical
regionalism: the ten points on the architecture of regionalism, it has been traced from section 6.3 that his
buildings belong to the locale in terms of climatic, cultural and contextual issues but reflects modernity and
rationality in spite of superficial traditional influences. When his building attributes were scanned from the
perspective of that ten points it is clear that he addressed critical consciousness while designing. He
addressed contextual demands such as typology/topography, he considered modernity in terms of applying
structural logic, he prioritized tactility and honesty towards materiality, he preferred natural way of
cooling/lighting over artificiality and above all, he gave primacy upon experiencing the real context rather
than observing it superficially.

Plate 03: Timeline of RGB works relating to the timeframe of Modernism, Tropical Modernism, and Critical Regionalism
Source: Prepared by Author; (Jencks, Architecture Today, 1988); (Hochstim, 2004)

Architect Boughey came to practice in East Pakistan in 1961 and practiced till 1964. This timeline is very
important as the ideas of Tropical Modernism and Critical Regionalism is reflected in the works of Architect
Boughey as discussed in section 6.2 and 6.3 of this chapter. So simultaneously with the theory of Tropical
Modernism and long before Critical Regionalism was established as a theory, these concepts have been practiced
and experienced in the field level works by Architect Boughey. From 1961 to 1964, these three years’ practice
in Bangladesh of architect Boughey was more than twenty years before the formation of the theory of Critical
Regionalism itself (Plate 03). So he can be considered as one of the pioneers who practiced those points in the
field level even before the materialization of the theory.

Architect Boughey could be considered as a successful modernist and expatriate architect, who was
completely embedded in the context; who stayed, experienced and worked accordingly by respecting the
local socio-economic situation, cultural milieu, and climatic setting. For being embedded, his understanding
was deeper and that is reflected through the success of his works. The success of his works could be traced
from the positive review about them, observed through the discourse with a few from the next-generation
of architects representing various decades and also by the thorough analysis of his buildings.

228 |
To locate the significance of Robert Boughey’s works historically, both in the passage of time and in the
geographic context, they were examined thoroughly through the lenses of relevant architectural theories.
After careful documentation of his works in Bangladesh, they were methodically organized under well-
defined sets of attributes that enabled the study to comparatively evaluate them with the core tenets of the
selected theories.
In conclusion, at the end of this theory-based analysis, Architect Boughey, an expatriate but fully embedded
in the local context, has been identified as one of the pioneers of Tropical Modernism as well as Critical
Regionalism. He was one of those in the front line, whose works in the field helped to shape the theories
and practices of the late modern period that eventually contextualized the spirit of modern architecture in
Bangladesh and beyond.

229 |
 Bibliography
Islam, S., & Miah, S. (2003). Banglapedia National Encyclopedia of Bangladesh (1st ed.). Dhaka: Asiatic Society of
Bangladesh.

Ahmed, N., & Powell, R. (. (1985). Architectural Developments in Bangladesh. the Regional Seminar in the series
Exploring Architecture in Islamic Cultures 2: Regionalism in Architecture (p. 5). Dhaka: The Aga Khan
Award Concept Media Pte Ltd Singapore.

Ahmed, N., & Sanday, J. (1986). Buildings of the British Raj. Dhaka: The university Press Limited.

Alam, M. S. (1998). Colonialism and Industrialization: Empirical Results. Munich Personal RePEc Archive.
Retrieved from t http://mpra.ub.uni-muenchen.de/37866/

Anand. (2012). Impact of British in Indian Society and Culture [online]. Your Article Library. Retrieved from
http://www.yourarticlelibrary.com/society/indian-society/impact-of-british-on-indian-societyand-
culture/47607

Anthony, D. W. (2007). The Horse the Wheel and Language. How Bronze-Age Riders From the Eurasian Steppes
Shaped The Modern World. Princeton: Princeton University Press.

Arheim, R. (1977). The Dynamics of Architectural Form . California : University of California Press .

Arnold, D. (1996). Inventing Tropicality. In D. Arnold, The Problem of Nature: Environment, Culture and
European Expansion (pp. 141-168). Oxford, UK: Blackwell.

Ashcroft, B., Griffiths, G., & Tiffin, H. (1995). The Post-Colonial Studies Reader. London : Routledge pp. 452-456.

Attribute. (n.d.). Your Dictionary. Retrieved from https://www.yourdictionary.com/attribute

Azim, F. (1991). Architecture for SAARC Nations: A special issue of A+D. Bangladesh – Building the Nation, p.
18.

Babatola, J. (2014). Neo-Colonialism In Africa: A Perpetuation Of Western Interest And Subjugation Of Africa. .

Barreneche. (2011). The Tropical Modern House. New York: Rizzoli Interntaional Publications, Inc. Bishop 12-15.

Barreneche, R. A. (2006). Pacific Modern. New York: Rizzoli International Publications.

Bell, P. D. (1971). The Ford Foundation as a Transnational Actor. International Organization.

Benerg, G. N. (n.d.).

Benerjee, G. N. (1920). Hellenism in Ancient India (2 ed.). Calcutta.

Bernerd, R. (1964). Architecture without architects, an introduction to nonpedigreed architecture. Garden City,
New York: The Museum of Modern Art: Distributed by Doubleday.

Boughey, R. G. (2008, November 7). Perception of Architecture. Unpublished article.

Boughey, R. G. (2014). Conversations with Architects. Vol. 6 Series คยุกบัสถาปนกิตน ้แบบ,Talk to the original
architect Prapakorn Watanayakun. (P. Watanayakun, Interviewer) Bangkok, Thailand: li-zenn Publishing.

Boughey, R. G. (2015, March). DACCA Railroad Station. Unpublished Article.

Boughey, R. G. (2017-2020). Conversations with RGB. (F. T. (Author), Interviewer) Personal Communication.
Email.

Breuer, M., & Blake, P. (1955). Sun and Shadow: The Philosophy of an Architect. New York: Dodd, Mead &
Company.

230 |
BUET. (2019, January 15). Retrieved from Bangladesh University of Engineering and Technology:
https://www.buet.ac.bd/

Chaang, J., & King, A. D. (2011). Towards a Genealogy of Tropical Architecture: Historical Fragments of Power-
Knowledge, Built Environment and Climate in the British Colonial Territories. Singapore Journal of
Tropical Geography, 32, pp. 283–300; 283.

Ching, F. D. (2007). Architecture: Form, Space, & Order. Hoboken: John Wiley and Sons .

Chowdhury, B. I. (1999). The Architecture of C.A. Doxiadis in Bangladesh: A Critical Evaluation. M.Arch Thesis.
Dhaka, Bangladesh .

Circulation. (2015-2018). Portico.Space [online]. Retrieved February 22, 2020, from Portico.Space:
http://portico.space/journal//architectural-concepts-circulation?rq=circulation%20

Clark, R. H., & Pause, M. (1979). Analysis of Precedent: An investigation of elements, relationships, and ordering
ideas in the work of eight architects (Vol. 28). Raleigh: The Student Publication of the School of Design,
North Carolina State University.

Clark, R. H., & Pause, M. (2005). Precedents in Architecture (3rd Edition). USA: John Wiley & Sons Inc.

Congregation of Holy Cross. (2019, November 2019). Wikipedia: The Free Encyclopedia. Retrieved February 24,
2020, from https://en.wikipedia.org/w/index.php?title=Congregation_of_Holy_Cross&oldid=927031141

Cook, J. (1983). Six evolutionary phases toward solar architecture: thermal application of solar energy in buildings.
Eighth Biennial Congress oftheInternational Solar Energy Society, Perth, 74-19 August. 1983, ed.
International Solar EnergySociety and S. V. Szokolay (pp. 4-15). Perth : New York: Pergarnon Press.

Corbusier, L. (1995). "Le béton brut, Le Corbusier - Ouvre complète. DE GRUYTER,

doi:10.1515/9783035602951.180, ISBN 9783035602951 .

Crinson, M. (2003). Modern Architecture and the End of Empire. Aldershot, Hants, England: Ashgate Publishing.

Drexler, A. (1979). Transformations In Modern Architecture. New York : The Museum of Modern Art: Distributed
by New York Graphic Society 18-19 .

Dunham, M., & Dunham, K. (2014). Our Days, In The Wake Of The Raj Our Life In Dacca 19601967 [online]. pp
23: The BookPatch.

Eley, G. (2008). Taking The Turn. In A crroked line: From Cultural History to the History of Society (pp. 121-133).
Ann Arbor University of Michigan Press.

Fanon, F. (1969). Towards the African Revolution, Political essays. New York: Grove Press.

Ferguson, N. (2013). British Imperialism Revisited: The Costs and Benefits of “Anglobalization” Historically
Speaking”. The Bulletin of the Historical Society. Retrieved from
http://www.bu.edu/historic/hs/april03.html#fergusona

Ford Foundation. (1954, May 17). letter to Shepard Stone, 2. Laughlin.

Frampton, K. (1983). Towards a Critical Regionalism: Six Points for an Architecture of Resistance. In H. Foster
(Ed.), The Anti-Aesthetic: Essays on Postmodern Culture (pp. 16-30). Port Townsend : Bay Press.

Frampton, K. (1987). Ten Points on Architecture of Regionalism: A Provisional Polemic. In L. Speck, & W. Attoe,
Center 3, New Regionalism (pp. 375-385). New York: Rizzoli Interntaional Publications.

Frampton, K. (1992). Modern Architecture A Critical History. London: Thames and Hudson Ltd.

231 |
Frampton, K. (1995). Studies in Tectonic Culture : The Poetics of Construction in Nineteenth and Twentieth Century
Architecture. London : The MIT Press Cambridge .

Franck, K. A., & Howard, T. v. (2010). Design through Dialogue: A Guide for Architects and Clients. John Wiley &
Sons Inc, United States.

Fry, E. M. (1977). Le Corbusier at Chandigarh. In R. Walden (Ed.), The Open Hand: Essays on Le Corbusier.
Cambridge: The MIT Press.

Geertz, C. (1957). Ritual and Social Change: A Javanese Example. JSTOR, 59, 32-54.

Gilman, N. (2003). Mandarins of the Future: Modernization Theory in Cold War America. Baltimore. Baltimore :
John Hopkins University Press. .

Girvan, N. (2012). Colonialism and Neo-colonialism in the Caribbean: An Overview, IV International Seminar
Africa. IV International Seminar Africa, The Caribbean And Latin America, St. Vincent And The
Grenadines. 24th- 26th November, 2012. .

Groat, L., & Wang, D. (2002). Architectural Research Method (2013 ed.). New Jersey: John Wiley & Sons.

Hasan, & Zahedul, K. A. (1968). Architecture in East Pakistan Since 1947. Third Seminar on Architecture,
Organized by the Pakistan Council on 27 February- 2 March 1968, (p. 92). Dhaka.

Heschong, L. (1979). Thermal delight in architecture. Cambridge: MIT Press.

Hitchcock, & Henry, R. (1977). Architecture: Nineteenth and Twentieth Centuries, Penguin Books, Baltimore (
1958; second ed. 1963; fourth ed. ed.). Harmondsworth England, and New York: Penguin Books,
Harmondsworth England, and New York.

Hochstim, J. (2004). Florida Modern. New York: Rizzoli International Publications, Inc. Publications, Inc. pp 17.

Hoskin, J. (1993). Robert G. Boughey. Bangkok: The Key Publisher.

Husain, A. B. (Ed.). (2007). Sthapotto. Dhaka: Asiatic Society of Bangladesh.

Hussain, M. (1963). The Art of Gandhara. Karachi: Pakistan Annual.

Islam, M., Ashraf, K. K., & Powell, R. (. (1985). Background, Introducing Bangladesh – A case for Regionalism .
Regional Seminar in the series Exploring Architecture in Islamic Cultures 2: Regionalism in Architecture
(pp. 23-26). Dhaka: The Aga Khan Award Concept Media Pte Ltd Singapore .

Islam, R. (2014). Daniel Dunham Pioneer of Modern Architecture in Bangladesh. Scotsdell, AZ: BookPatch.

Jackson, I. (2013). Tropical Architecture and the West Indies: from military advances and tropical medicine, to
Robert Gardner-Medwin and the networks of tropical modernism. The Journal of Architecture, 167-195 .

Jackson, I., & Holland, J. (2014). The Architecture of EDWIN Maxwell Fry AND JANE DREW. Ashgate Publishing
Ltd ISBN 978 1 4094 5198.

Jaffrelot. (2004). A History of Pakistan and Its Origins. London: Anthem Press.

Jencks, C. (1973). Modern Movements in architecture. Penguin Book Great Britain. pp 29.

Jencks, C. (1988). Architecture Today. New York : Abrams pp. 20.

Joas, H., & Knobl, W. (2009). Social Theory: Twenty Introductory Lectures. Cambridge : Cambridge University
Press.

Joseph, S. N. (1990). Bound to Lead: The Changing Nature of American Power. In Basic Books 1990 and, Soft
Power: The Means to Success in World Politics . New York: Public Affairs.

232 |
Kahn, L. I., & Latour, A. (1991). Louis I. Kahn : writings, lectures, interviews. New York: Rizzoli International
Publications.

Karim, F. (2016). Between Self and Citizenship: Doxiadis Associates in Postcolonial Pakistan, 1958–1968.
International Journal of Islamic Architecture, 5, 135-161. 10.1386/ijia.5.1.135_1.

Karim, F. S. (2010). Modernity Transfers: The MoMA and postcolonial India. In D. Lu, Third World Modernism:
Architecture, Development and Identity (pp. 189-210). New York : Routledge.

King, J., & Domin, C. (2002). Paul Rudolph The Florida Houses. New York : Princeton Architectural Press New
York pp. 37 .

Kremlin.ru. (2016, April 16). Retrieved from "Торжественный вечер, посвящённый Году Индии в России".
Президент России: https://en.wikipedia.org/wiki/India–Russia_relations#cite_note-news.kremlin.ru-21 37.
Joseph S. Nye (1990), Bound to Lead: The Changing Nature of American Power New York: Basic Books

Krstić, Trentin, & Jovanović, &. (2016). Interior-exterior connection in architectural design based on the
incorporation of spatial in between layers.

Kuz'mina, & Efimovna, E. (2007). The Origin of the Indo-Iranians. Brill: ISBN 9789004160545.

LBG. (2019, April 09). Retrieved from Louis Berger Ltd: https://www.louisberger.com/about/history

Lechner, N. (2015). Heating, cooling, lighting : sustainable design methods for architects. Hoboken, New Jersey:
John Wiley & Sons, Inc.

Loos, A., & Opel, A. (1998). Ornament and crime : selected essays. Riverside, Calif. : Ariadne Press.

Lu, D. (2011). Third world Modernism: Architecture, Development and Identity. NY: Routledge pg. 216 .

Mitchiner, J. E. (1986). The Yuga Purana. Calcutta: The Asiatic Society .

Morshed, A., & Nahar, N. (2017). DAC Dhaka Architectural Travel Guide. Barcelona: Altrim Publishers .

Mowla, Q. A. (2007). Kahn’s Creation in Dhaka – Re Evaluated. Jahangirnagar Planning Review, 5, 85-96.

Mukherjee, H. (2012). Eastern Bengal Railway. In S. Islam, & J. Ahmed, Banglapedia: National Encyclopedia of
Bangladesh(Second ed.). Asiatic Society of Bangladesh.

Nilufar, D. F. (2007). Architecture of Pakistan Time in Bangladesh since 1947 to 1971. In A. Husain, “Cultural
Survey of Bangladesh, Series-2, Architecture: A History through the Ages (pp. 505-520). Dhaka: Asiatic
Society of Bangladesh.

Nkrumah, K. (1965). Neo-Colonialism, The Last Stage of Imperialism. International Publishers Co., Inc.USA .

Norberg-Schulz, C. (1971 ). Existence Space and Architecture. New York: Praeger .

Pallasma, J. (1996). The Eyes Of the Skin: Architecture and the Senses. West Sussex, England: John Wiley and Sons
Ltd.

Parkin. (n.d.). India Today, 178.

Ponty, M. (1964). The film and the New Psychology. In Sense and Non-Sense (p. 48). Evanston: Northwestern
University.

Powers, R., & Richardson, P. (2012). Living Modern Tropical: A Sourcebook of Stylish Interiors. New York:
Thames & Hudson, Inc. pp 6-7 .

R.H, C., & Pause, M. (2005). Precedents in Architecture . USA: ,John Wiley & Sons Inc.

233 |
Rapoport, A. (1969). House, Form and Culture. New Jersey: Precentice Halls.

RGBarchitects. (2020, Febuary 20). Retrieved from Robert G. Boughey and Associates:
http://www.rgbarchitects.com/

Rich, W. S. (1951). Study for the Ford Foundation on Policy and Program by Ford Foundation. Annals of the
American Academy of Political and Social Science.

Ricoeur, P. (1965). Universal Civilization and National Cultures in History and Truth . Evanston : Northwestern
University Press.

Rivas-Camp, R. (2003). Growth, Efficiency and Modernism: GSA Buildings of the 1950s, 60s, and 70s. U.S.
General Services Administration.

Rodney, W. (1973). How Europe Underdeveloped Africa. Bogle-L'Ouverture Publications, London and Tanzanian
Publishing House, Dar-Es-Salaam .

S N Mukherji, S. W. (1968). A Study of 18th Century British Attitude Towards India. Delhi: OUP.

Sanujit. (2011). Cultural Links between India and Greco-Roman World [online]. Retrieved from
http://www.ancient.eu/article/208/

Seckel, H. W. (1954). Hawaiian Residential Architecture. Honolulu, USA: Bishop Museum Press.

Shah, B. (2016, September 13). The Architecture of Foreign Architects in Nepal. Kathmandu, Nepal: Spacenepal.
Retrieved from https://spacesnepalblog.wordpress.com/2016/09/13/the-architecture-of-foreign-architects-
in-nepal/

Sheeba, J., T., J., & Dhas, M. (2018). A STUDY ON INDO-SARACENIC ARCHITECTURAL HERITAGE .
International Journal of Pure and Applied Mathematics [online], 1737-1747.

Shumaila Firdos, Y. W. (2017). The Influence of Greek Classics on Indian Culture in Ancient Era. JPUHS, 195-204.
Retrieved from t http://pu.edu.pk/images/journal/HistoryPStudies/PDF_Files/14_V-30-No1-Jun17.pdf

Singh, D. P. (2016). Economic, Social and Cultural Impact of British Rule on India. International Journal of
Research in Economics and Social Sciences (IJRESS), 6, pp. 456~460 ISSN(o): 2249-7382). Retrieved
from http://euroasiapub.org

Smithson, A., & Smithson, P. (2001). The Charged Void: Architecture. New York: Monacelli Press, Inc. ISBN 1-
58093-050-6. .

Tarn, W. (1902). Notes on Hellenism in Bactria and India. The Journal of Hellenic Studies, 22, 268-293.
doi:10.2307/623931 .

Tayyeb, A. (1966). Pakistan A Political Geography. London: Oxford University Press, London.

Treib, M. (2007). “Of Climate and Contour: Ossipoff’s Architecture and the Hawaiian Environment. In Sakamoto
(Ed.), In Hawaiian Modern: The Architecture of Vladimir Ossipoff (p. 72). New Haven: Honolulu
Acadmey of Arts, Yale University Press.

Tzonis, A., & Lefaivre, L. (1981). The Grid and the Pathway: An Introduction to the work of Dimitris and Susana
Antonakakis. In Architecture in Greece (p. 1978).

Ullah, M. F. (1997). Search for the Contemporary framework in the Work of Muzharul Islam. Unpublished M. Arch
Dissertation of Department of Architecture, BUET .

Violetti, C. (2018). Aryan. Ancient History Encyclopedia. Retrieved from Aryan. Ancient History Encyclopedia: t
https://www.ancient.eu/Aryan

234 |
Vitruvious, & Morgan, M. H. (1960). The Ten Book On Architecture. New York : Dover Pulications INC .

Wares, S. (1984). BangladesherPanchashabong Shat DashakerSthapatyer Katha” (The history of Architecture of

Bangladesh in fifty’s and Sixty’s) in NirmanShiplay Bangladesh (Bangladesh in Construction Industry. 6th
Special Issue of AniomitoAniket, pp. pp 71-80.

Weather Online. (n.d.). Retrieved from Bangladesh Climate:

://www.weatheronline.co.uk/reports/climate/Bangladesh.htm

Yin, R. K. (1984). case Study Reserach. CA: Sage : Thousand Oaks .

235 |
 Appendix
A STUDY ON THE EVOLUTION OF PHYSICAL AND SPATIAL ATTRIBUTES IN
THE ARCHITECTURAL WORKS OF ROBERT G. BOUGHEY IN BANGLADESH

Fatema Tasmia , Department of Architecture, BUET i|

The appendix of this thesis has been provided digitally (link is attached) as per the direction of
the Board of Examiners of the thesis; All scanned documents, drawings and some photographs have
been uploaded in the personal (digital) archive of author and can be viewed by following the QR Code
and link:

https://drive.google.com/open?id=19io39VJ5NW4Rtp0DC-0Nn9Sopp-9vpQY

Conversations with RGB through Email by Author (2017-2020)

A part of this section has been provided in the above link.

Fatema Tasmia , Department of Architecture, BUET ii |

 Illustration by architect Robert Boughey about priests’ and seminarians’ residence, NDC
Source: Author’s Collection ,Interview with architect Boughey on 6 July, 2018

Fatema Tasmia , Department of Architecture, BUET iii |

Illustration by architect Robert Boughey about Boys Hostel BUET
Source: Author’s Collection, Interview with architect Boughey on 11 March 2019

Fatema Tasmia , Department of Architecture, BUET iv |

Illustration by architect Robert Boughey about priests’ and seminarians’ residence, NDC
Source: Author’s Collection, Interview with architect Boughey on 6 July, 2018

Fatema Tasmia , Department of Architecture, BUET v|

Illustration by architect Robert Boughey about priests’ and seminarians’ residence, NDC
Source: Author’s Collection, Interview with architect Boughey on 6 July, 2018

Fatema Tasmia , Department of Architecture, BUET vi |

 Illustration by architect Robert Boughey about Boys Hostel BUET

Fatema Tasmia , Department of Architecture, BUET vii

|
 Source: Author’s Collection, Interview with architect Boughey on 11 March 2019

Illustration by architect Robert Boughey about BUET Gymnasium

Source: Author’s Collection, Interview with architect Boughey on 11 March 2019

Fatema Tasmia , Department of Architecture, BUET viii

|
Illustration by architect Robert Boughey about Holy Family Nursing School and Hostel
Source: Author’s Collection, Interview with architect Boughey on 13 May 2019

Fatema Tasmia , Department of Architecture, BUET ix |

Illustration by architect Robert Boughey about Holy Family Nursing School and Hostel
Source: Author’s Collection, Interview with architect Boughey on 13 May 2019

Perception of Architecture
Fatema Tasmia , Department of Architecture, BUET x|
 It is always interesting to think about starting a talk on architecture. It has so many facets that can be
approached in so many ways. The word itself can have so different meanings. When many people use the
word architecture they mean any building primarily public buildings. It is also used rather strangely as the
phrases like “he is the architect of this or that policy”. Simply, most people who are familiar with the
profession, would admit that while all architecture is essentially building, all building is not architecture.
That’s where the problems of definitions begin. … Because every one seems to have his own definition of
beauty or art. And although there may be a clear distinction between what one likes and what is considered
good art, everyone agrees that there may be a difference.
Impact of architecture.
If you live in a city or even if you in the countryside and there is one structure in your vision, than your
perception of the space around you has been altered. In a city buildings are more intrusive because you
are more or less surrounded by them. Perhaps in the country side you can just turn away. But by even that
act you are impacted.
Good architecture invariably grows as a part of the location and situation. Historically it normally grew
from a settlement, a fortification, a group of dwellings, a place of commerce or worship.. And although it
is the fashion to talk about Fung Shui, the underlying elements of good architecture have always been
concerned about natural phenomena. For example. A site or orientation is chosen because it has good
security such as being located at the base of a mountain. A requirement of common sense. The structures
usually provide good ventilation, face the
right way in regards to sunlight, and storms. That is a primary reason why there is usually agreement that
certain man made forms are good architecture. The examples are many and diverse. Mountain towns in
Yemen, Chinese canal villages, a grouping of farm buildings in Pennsylvania, or a medieval town in
France.
In all of the above examples there is an acknowledgement of the natural use of material, the recognition
of community needs and mutual community interests and a unified aesthetic
Architecture as a profession.
I like this definition of a professional (from Webster): “b participating for gain or livelihood in an activity
or field of endeavor often engaged in by amateurs.”
Most people go to professionals when they are trouble, they are either very sick, have just shot someone,
or have a terrible toothache. And they listen to the advice their doctor, lawyers, or dentist gives them. Not
so architects, people have a different approach, they are usually not in serious trouble, and they mostly
think they can solve their own problem or build their own building if that process were legal. So many times
there is a bit of mild confrontation as the client may want to show that he really could design this himself,
or at least have someone draw up his ideas for little cost. This has several ramifications . One it is difficult
to draw the client into the complicated design process because in his view, there is really not much work to
be done.
Secondly, he does not give a clear picture of his requirements. Because he takes the first step in the design
process himself. For example: he may say he wants a dining room for 6 people, not realizing that this
requirement is not based on reason but 6 was all he could fit in his present dining room. Or he tells the
architect that he needs a room of 9 by 12. This is probably similar to a room that

Fatema Tasmia , Department of Architecture, BUET xi |

he already has. He has made a crucial design decision. Instead, he should have explained the function of
the room
IT is all about problem Solving and the approach to it. Consistency and problem solving will lead a path
to good responsive architecture.
SHOW PROJECTS
Conclusion
In conclusion, I will leave you my criteria for a good example of Architecture
1. It must in some way benefit the owner and address his requirements and aspirations 2. It must benefit
the Architect, in giving him a better understanding of a significant problem, aesthetic objective, or social
expectation 3. The Architecture should benefit the profession, either by setting an example of professional
conduct, or by sharing some new approach to problem solving , or a simple example of a unique technical
solution 4. The completed project must acknowledge the context in a location and its impact on environment
and society a solution society. . It could be a direct contribution of providing public art, or green space, or
public access. There must also be awareness on the buildings impact on natural phenomena such as
sunlight and air circulation.
In simple terms, while the interior of the building may be inward looking though shared by the owner and
the owner’s tenants,
guests, family or employees, by the nature of architecture the exterior must and will be shared by the
neighbor’s , community and society at large. It will reveal a great deal about the intent of the owner and
architect. This acknowledgement of the role in the community is very often missing.
If the project successfully addresses the above points we believe that it will approach becoming architecture
rather than building
End
RGB Nov. 7 2008

Fatema Tasmia , Department of Architecture, BUET xii

|
 DACCA Railroad Station
Having always loved trains I remember it being a great thrill to design a railroad complex.

It was an enormous complex in its day. Along with the main station there was a smaller station then called the suburban
station, the long passenger platforms, and the post office building?

There were technical limitations, 50 years ago remember. No computer or any sophisticated equipment to design or
with which to build. The design office on Jinnah office had no air-conditioning to begin with and most drawing
instruments were made from wood. Originally all the drawings were drawn in ink. We eventually switched to pencil
because it took so much time for the ink to dry, especially in the monsoon period.

The state railways at that time was very prestigious and there were many good engineers who were full time employees
of the railroad. The person in charge of the project was an engineer by the name of Chowdhury. The personal people
were very open to any new ideas and to them it was a very special project.

Apart from the functional requirements the strongest design requirements were the practical aspects of building such
a large project. There was also concern to build this large span structure and the suggestion of the authorities that it
should have reference to traditional Islamic architecture. There were quite a few about this aspect but we only
submitted one design which was readily accepted and the work progressed rather rapidly as I remember. I believe that
the acceptance of a somewhat contemporary approach to the station complex was important in the development of the
architectural outlook at that time.

I remember that our main concept was to design an in depended flowing structure that would be umbrella to whatever
happened inside and a form that would be recognized as a landmark. The forms are quite simple. Domes and arches
on a 45 degree grid that created the station profiles the various and changing functional railroad support facilities were
placed in a series of separate buildings that did not touch the main structure. These building spaces would be offices
snack rooms etc. These independent structures would be flexible depending on the shifting requirements while the
main roof would remain untouched by any future changes.

As can be seen on one of the model photographs, I had planned to have a perimeter grill that would span between the
perimeter columns to unify the exterior and to provide a little more weather protection. These were never built and I
was not informed exactly why. Probably because of construction constraints.

Aside from that, as you can see from the model photographs, very little changed from the concept.

Luckily at about this time Mr. Stanley Jewkes who had recently retired from the Malaysian public works department
as its head was assigned as chief engineer of the American parent company to spend some time in Dacca. He was an
engineer well versed in thin shell structures. He oversaw the structural design as he had recently finished a few major
concrete structures in Malaysia.

Still there was some trepidation to construct this rather large structure which was understandable in the 1960s in East
Pakistan. To help everyone better understand the complexities, I suggested that we design the suburban station as a
reduced sized sample of the main building. That seemed have worked.

I hope some of these thoughts are useful. It is hard to recreate all the conceptual ideas from some time ago but I was
pleased that I membered so much about one of my favorite buildings. I remember the opening ceremony; the President
Ayub Khan was there. They also issued a postage stamp.

There are some interesting books written about the station as I mentioned before. The photographs were all taken by
me except the 5 I marked which were taken by the photographer of the book I mentioned. I do not have his name
unfortunately.

Robert G. Boughey March 20

Fatema Tasmia , Department of Architecture, BUET xiii
|
Conversation with Ar. Robert Boughey in a Semi-Structure Format (by Author)
25 June 2018

Dear Ar. Boughey,

It’s been a long time since I am writing you. Firstly, I would like to apologies for my repetitive mail. I hope and
pray that everything is fine and sound with and surrounding you. Sir, I am glad to inform you that I have started to
work on my thesis since last March; I am in the initial stage and doing the literature review and surveying and
expecting to complete my thesis work within next six months (I shared with you earlier about my thesis topic and
ideas). Since, I didn’t get your view I thought to connect you again.I would like to answer your queries of previous
mails in following ways-

My research and findings will be focused on-

1. A brief understanding about the architecture and philosophy of Architect R.G. Boughey through the
analysis and synthesis of his works in Bangladesh.

2. How Ar. Boughey’s architecture and contribution influenced the emergence of modern architecture
in Bangladesh?

3. What could be the thinking process of an architect to build a new style with a new context and
location?

4. How the foreign architects have changed the definition of Architecture in Bangladesh following the
contextual regionalism, not following their own style of their native countries.

5. The most significant objective of my study is to do a proper documentation of your architectural

works that can contribute to the history of Architecture of Bangladesh.

Expected Chapters of my thesis

Tentative Title: A brief understanding about the architecture and philosophy of Architect R.G.
Boughey through the analysis and synthesis of his works in Bangladesh.

Chapter 1: Introduction
Present state of the proposed research topic
Objective of the research
Research Methodology
Expected result
Composition of the thesis

Chapter 2: Foreign Architects works

Introduction
Foreign architects work in the third world countries
Employment of major foreign architects in post British Colonial phase in this sub-continent.
Robert. G. Boughey as a foreign architect
Chapter 3: Philosophy and Thought of Architect R.G. Boughey

Chapter 4: Architectural works of Architect R.G. Boughey in Bangladesh

Kamalapur Railway Station, Notre Dame College ( Mathis House), BUET Civil Engineering
Faculty Building, BUET Boys Hostel, BUET Gymnasium,

Fatema Tasmia , Department of Architecture, BUET xiv

|
 RU Cafeteria, St. Joseph Higher Secondary School, Holy Family Hospital School.

Chapter 5: Comparative analysis among local and global works of R.G Boughey

Sir, an authorization letter from my supervisor about the thesis topic has been attached with this mail for your kind
concern.

Eagerly looking forward to hear from you sir!

Thanking you.

10 October, 2018
Dear Sir,
I hope you are fine and doing well, I am currently working on some formal procedures related to proposal
submission and presentation. Here is the second step to my systematic inquest (Inquest 02)
IN QUEST 02
1. Sir, when you landed in Bangladesh(East Pakistan) what was the overall scenario in the architectural field of the
country in your eyes?
2. What were the main inspirations while working here.
3. What were the factors that contributed in your design decision making?
4. How your modernist training(from Pratt Institute) inspired you to work in a modern approach as well as in context
based design?
5. Sir,do you have any images or drawings of your student projects or projects in which you worked as a fresh
architect?
Thanks in advance sir. Please take time and answer in your convenience.

19 February, 2018
Dear Ar. Boughey,
Greetings from the eve of spring! I hope you are doing well with sound health. I would like to request you to
participate in the 4th inquest as a part of my systematic online interview/dialogue. Thanks in advance for your
cooperation and please take time and respond in your convenience.

You are requested to enlighten me and my thesis by providing following queries about
1. Your childhood and youth
2. Academic experiences
3. Interest in Architecture as a subject to study(I found some description in the RGB book)
4. Any student project that has an special impact on you/ your career (photo of model/sheet if any)
5. Early experiences in architectural profession (like internship, work experience as a fresh graduate)
6. Learning experience working as a fresh graduate architect in a third world country.

Sir, It would be very kind of you and effective for my thesis if you provide me photographs or any other recorded
documents related to the above queries and allow me to publish in my thesis. I believe any attachments relating to
you and your experiences will enhance the merit of that particular topic.

Thanks a lot sir!

Fatema Tasmia , Department of Architecture, BUET xv

|
 23 February, 2018
Dear Ar. Boughey,
Thank you so much for your valuable words. I can totally understand the situation. I will add the required details
in my Thesis chapters.
Sir now I would like to request you to participate in my next Inquest about your designed residential projects. As
you have already shared your ideas related to Notre Dame College-Priests and Seminarians Residence/Staff
Quarters, I am excluding this building from this interview part. I am adding some key points under which you can
explain or you can add some other points.

1. Boys Hostel BUET(EPUET)

- Concept
-Contextual observation
- Spatial Arrangements
- Indoor outdoor Relationship
-Environmental Considerations
-Details(Shading devices, Material, structure)
-Special Consideration
-Special memory

2. Residence at St. Joseph Higher Secondary School

- Concept
- Contextual observation
- Spatial Arrangements
- Indoor outdoor Relationship
-Environmental Considerations
-Details(Shading devices, Material, structure)
-Special Consideration
-Special memory

3. Saint Joseph School Classroom Building

- Concept
-Contextual observation
- Concept of physical/formal attributes
-Spatial Arrangements
- Indoor outdoor Relationship
-Environmental Considerations
-Details(Shading devices, Material, structure)
-Special Consideration
-Special memor
Sir, you can take time and respond in your convenient media (Text or Sketch)
May 9 2019
Dear Ar. Boughey,
Greetings from a bright sunny day of summer! I hope everything is fine and sound with and surround you. I hope
you are back as you have mentioned that you'll be on leave for a month.
Sir, Last week I visited one of your designed project , the Holy Family Nursing School. It was my first visit to this
premise, and when I approached them and informed them about my thesis, they eagerly accepted me to enter and
do my survey. It was an interesting experience as I have no plan or layout of this building nor the authority have
but fortunately you sent me 2 images( perspective view and a photograph) earlier that helped me to understand the
complex by doing sketches , taking photographs and videos.

This design mesmerized me in the terms of planning, space allocation, formal expression and orientation. And
even today each and every room is performing gracefully . Although the building complex went through some post
operative alterations but its not hard to find your intervention and your own style in this designing. The climatic
sensitivity is very clear in this design.

Fatema Tasmia , Department of Architecture, BUET xvi

|
 I think, to break the long monotonous corridor effect you redirect the corridor and channel it in front of different
functions without any hindrance as you have done in Priest and Seminarians Residence in Notre Dame College.
Here I have added some of the glimpse from my visit and would like to hear from you about your experience while
designing and about the following aspects.

1. Plan layout considerations

2. Climatic considerations
3. Form and functionals arrangements
4. Details
5. Any background experience or memory

Sir, you can write or respond through sketches as you have done before. Please response according to your
convenient time.
I will look forward to your reply.

10 May 2019
Dear Sir,
Here I have attached two drawings ( Ground Floor Plan and South Elevation) of Holy Family Nursing School, that
I draw out of my visit. I Tried my best to draw according to my sketches and photographs, some portions may not
be as same as the original drawing as I was not able to enter each of the spaces. But I think and believe the references
of rooms and other spaces are correct. I hope these drawing will help you to recall the memories related to this
design.

7 January 2020
Dear Sir,
Greetings from Dhaka and Happy New Year. Hope you are doing well and sound.Sir, I am almost at the edge of
completing my final draft, hopefully will wrap up by the end of this month. Sir I have some basic queries to you
for my final clarification, as this queries will help me in concluding.

1. Can you recall the exact date (date/month/year) of your arrival in Dhaka(Dacca) and departure from Dhaka? (I
know it would be very tough, it would be enough for me if you could mention the month or even the time of the
year)

2. Had you been hired directly as the chief architect of Louis Berger Group or you came earlier to the Dhaka office
as an architect and later promoted to the position of chief architect (for reference here I'm attaching a letter dated
25th August, 1962 by Ar. Dunham to Dr. Louis Berger, perhaps it is about your employment in LBG Dacca office)

3. Here I'm attaching a photograph of Notre Dame College on the construction period, found in their archive, I was
wondering the man in hat is you or not.. if not please pardon me for making mistake.

Thank you sir for your alltime support and please respond according to your convenience.

Fatema Tasmia , Department of Architecture, BUET xvii

|
 Interview of Next Generation Local Architects
(Interview Format)
Background:
This interview is a part of my M.ARCH Thesis, entitled “A Study on the Evolution of Physical and Spatial Attributes
in the Architectural Works of Robert G. Boughey in Bangladesh”. The purpose of this interview is to understand the
consequences and overall impact of Boughey’s work on the next generation local architects. Some of the significant
architectural projects of Bangladesh, designed during the mid-fifties to late sixties strongly guided the next generation
architects in realizing the significance of indigenous responses to the basic issues concerning architecture [1]. Along
with the practice of several foreign trained local architects, a number of foreign architects were hired in Bangladesh
(former East Pakistan) during mid-fifties to late-sixties to design and conduct local development projects under the
Ford Foundation grant [2] [3], World Bank sponsorship and consultancy services of Louis Berger Consulting
Engineers (Pak) Ltd. (LBG) [4]. Among the works of foreign architects, Louis I. Kahn’s National Assembly Building
of Bangladesh has been evaluated quite substantially [5], but other architectural projects which were led by architect
Paul Rudolph, C. A. Doxiadis, Richard Neutra, Daniel Dunham, Robert G. Boughey, Stanley Tigerman have not been
studied in depth [3]. Among them a young aspirant architect Robert George Boughey (RGB), the chief architect of
LBG (East Pakistan, from 1962 to 1964) [6] was well embedded to the context and maintained consistency in
architectural vocabulary, technical excellence and aesthetics while designing [1] [7] [8]. Architect Robert G. Boughey
was a graduate of Pratt Institute, USA and came to East Pakistan at a very young age as a part of LBG.

RGB works

1 2 3

4 5 6

7 8 9 10
Fatema Tasmia , Department of Architecture, BUET
xviii |
 1. Kamalapur Railway Station 1962
2. Boys Hostel BUET 1962
3. Rajshahi University Cafeteria 1962
4. Priests’ and Seminarians’ Residence, Notre Dame College 1963
5. BUET Gymnasium 1964
6. St. Joseph Higher Secondary School 1964
7. Priests’ and Seminarians’ Residence, St. Joseph Higher Secondary School 1964
8. Civil Engineering Faculty Building BUET 1965
9. Holy Family Nursing School
10. Rajshahi University Library Facade

References:
[1] Asiatic Society of Bangladesh,(2003), Banglapedia National Encyclopedia of Bangladesh, Vol.1, pp. 274-277

[2] Karim, F. S.,(2010),Modernity Transfers: The MoMA and postcolonial India. In: LU, D. (ed.) Third World Modernism:
Architecture, Development and Identity. NY: Routledge.

[3] Chowdhury, B. I., (1999), The Architecture of C.A. Doxiadis in Bangladesh: A Critical Evaluation for M.Arch Thesis,
Bangladesh University of Engineering and Technology (BUET), pp. 01-03.

[4] Islam, R., (2014),Daniel Dunham Pioneer of Modern Architecture in Bangladesh, Scotsdell, AZ, The BookPatch, pp. 15.

[5] Mowla, Q.A.,(2007),Kahn’s Creation in Dhaka – Re Evaluated,Jahangirnagar Planning Review, (Journal: ISSN 1728-
4198).Vol.5, Dhaka, pp. 85-96. [6] Hoskin, J., (1993), Robert G. Boughey, Publisher: The Key Publisher, Design Excellence Vol.2,
pp. 07-15.

[7]Wares, S., (1984), “BangladesherPanchashabong Shat DashakerSthapatyer Katha” (The history of Architecture of Bangladesh
in fifty’s and Sixty’s) in NirmanShiplay Bangladesh (Bangladesh in Construction Industry), 6th Special Issue of AniomitoAniket,
A Publication of Bangladesh University of Engineering and Technology, Dhaka, pp. 71-80.

[8] Dr. Nilufar, F., (2007) ‘Architecture of Pakistan Time in Bangladesh since 1947 to 1971’ for “Cultural Survey of Bangladesh,
Series-2, Architecture: A History through the Ages, Editor: ABM Husain, (ISBN 984-300-000965), Asiatic Society of Bangladesh,
pp. 505-520.

Name:
Academic Years (B.Arch.): ……… to ………..

Professional Practice: ……………to …………

Questions:
1. Was Robert G. Boughey involved or associated with any academic works at the time when you were a student
of B.Arch.?
2. Do you have any personal experiences with the architect? If yes, please share that in few words.
3. Were the contemporary students of that time inspired by his works and did they study those buildings as
examples?
4. How the buildings designed by Robert G. Boughey later influenced you and the next generation architects?
5. How do you rate his works comparing to the works of the other modernist expatriate architects Louis I Kahn,
Paul Rudolph or C.A. Doxiadis, who worked in the context of 60’s and 70’s in East Pakistan?
6. Do you think as a western educated modernist architect, Robert G. Boughey was sympathetic enough to
develop his architecture to suit the need of this country, in terms of climate, culture, economy and the
technology?

Fatema Tasmia , Department of Architecture, BUET xix

|
1. Interview with Prof. Meer Mobashsher Ali (60s) :

As far as I understand his works, Bob Boughey was a very good designer, he was enthusiast enough to take
challenge and adapt any new thing. As far I recall the design of Govt. House that proposed by Bob Boughey
took first place in the competition, but unfortunately it was not materialized, because possibly it was too
modern for that time. That time a strong Islamic influence used to exist… Sheraton hotel to some extent
resembles with Islamic visual property. Even Kahn’s building was questioned in terms of Islamic identity.

1. Was Robert G. Boughey involved or associated with any academic works at the time when you were a student
of B.Arch.?

I was admitted to BUET in 1962 but left BUET just the next year and completed graduation from University
of Florida.

2. Do you have any personal experiences with the architect? If yes, please share that in few words.

We have met on tea with Dunham, Boughey, Walden and some other personnel, shared some conversations
about addressing local cultural influences on design, why regional influences were not tried to be addressed in the
local works etc..

3. Were the contemporary students of that time inspired by his works and did they study those buildings as
examples?

Students were impressed by their (foreign architects) works, but the students were mainly studied from library
materials by reviewing case studies, the culture of studying a real local project through taking measurements,
sketching, observing was not practiced yet.. Students were quite excited about the projects of Bob Boughey.

4. How the buildings designed by Robert G. Boughey later influenced you and the next generation architects?

I believe his buildings influenced us a lot, because they were true examples of architecture, they may not be the best
architectural works, but architectural practice. Both in terms of exterior and interior architectural features and
spaces.

5. How do you rate his works comparing to the works of the other modernist expatriate architects Louis I Kahn,
Paul Rudolph or C.A. Doxiadis, who worked in the context of 60’s and 70’s in East Pakistan?

I’ll rate his works as excellent, more than comparable, as a matter of fact sometime better than others, like his
realization about Bangladesh or the region was possibly deeper than Paul Rudolph… in Bangladesh Agricultural
University the understanding of context was lesser, Bob Boughey’s St. Joseph School, Notre Dame college are
reasonably successful buildings keeping the local context in mind, even in terms of construction- like he used plaster
for weather protection; his railway station is a unique work and of high status in any standard worldwide, I think he
showed his stroke of genius, master stroke by designing Dhaka Railway Station as an end Station. Previously it ended
at Narayanganj and there was a shuttle in between Dhaka to Narayanganj, Designing this station as an end station
gave him a tremendous advantage… The shell of Railway building is very impressive, people never criticized the
exceptional look due to its free roof, people were mesmerized I believe. This was an unique idea to design the building
in two segmented part: formal and functional, they were segregated but at the same time harmoniously put together.

6. Do you think as a western educated modernist architect, Robert G. Boughey was sympathetic enough to develop
his architecture to suit the need of this country, in terms of climate, culture, economy and technology?

Yes, in the sense that the function of the building must serve the purpose for which it is built, economy was also a very
important factor, climatic orientation was perceived to be in north-south, all buildings were designed North-south
oriented, he took the challenge to build sixty feet long span to overcome technological bindings.
Fatema Tasmia , Department of Architecture, BUET xx
|
But No in a sense, that it was not his main design feature, neither from the social aspect nor from the physical aspect
like local or regional features were not the most dominant features in his design; aesthetic and the other design
principles like composition, order, balance, focus were prominent, he did not actually portray exact local architectural
representation, I believe Dunham did more than that of Boughey.

I think Boughey’s projects were quite successful, even my two sons studied in St. Joseph School, they were quite happy
with the spaces, and the open ground floor which connects play field, this concepts are very impressive. Even the
Brothers’ Hostel of Notre Dame College exemplifies, how small spaces could be arranged appealingly and effectively.
But due to some reasons he never get the publicity, even Stanley Tigerman got publicity although he has very less
contribution; yes Bob Boughey was less celebrated!

2. Interview with Architect Tanwir Nawaz (60s)

1. Did Robert G. Boughey was involved or associated with any architectural academic works at the time of 60s in
East Pakistan?
A. Robert Boughey was involved in the practice of architecture as a foreign architect with the firm of Berger
Engineers East Pakistan on a number of buildings.
2. Did the contemporary students of that time were inspired by his works and did they study those buildings as
examples?
A. In my opinion there was many other more notable foreign architects working in East Pakistan at the
same time, namely Louis I Kahn, Paul Rudolph, Richard Nuetra, Daniel Dunham, Doxiaties and Stanley
Tigerman etc.
Robert Boughey was a young architect at the time. And in my opinion, we did not pay much attention
to his work, neither did most of the following years in my opinion.
3. How those buildings later influenced the next generation architects?

A. Not much in my opinion

Some, like the students residences in BUET (EPUET) may have influences a few later architects.

4. How do you rate his works comparing to the works of modernist architect Louis I Kahn, Paul Rudolph or C.A.
Doxiaties in East Pakistan?

The work of all the above is rated at much higher level than that of Robert Boughey. The above were very
well known architects at the time.

5. Do you have any personal experiences with the architect? If yes, please share few words.

I do have some personal experience with Robert Boughey. He was a frequent visitor to BUET architecture faculty.
He was a Jury member on a few occasion and spoke very highly of the work of my own class (third year at the
time). I did speak with him on a few occasions as he attended our design studio from time to time. He visited our
design studio a few times and used to informally critic our work. However he was not a formal teacher.

Many credit Robert Boughey with the design of the Dhaka Railway station. Actually the main station building
structure was conceptually designed by Architect Dan Dunham, who was the Chief Architect of Berger Engineers
East Pakistan ( also designed the Rajshashi University Master Plan and its Main Library Building ). After Dan
Dunham joined the faculty of architecture at BUET (EPUET), Robert Boughey completed the design drawings
and the supervision to my knowledge.

Best wishes
Ar. Tanwir Nawaz
B.Arch. M.Arch. OAA, IAB
BUET (EPUET) 1962-1967
Rockefeller 3rd Fund Scholar

Fatema Tasmia , Department of Architecture, BUET xxi

|
3. Interview with Architect Rafique Islam (70s)
Questions:
(Answers in red)

1. Was Robert G. Boughey involved or associated with any academic works at the time when you were a student of
B.Arch.?
A: He was never associated with any academic work when I was a student but his building for Civil Engineering
Department was under construction at that time next to Architecture Faculty bldg.

2. Do you have any personal experiences with the architect? If yes, please share that in few words.
A: N.A.

3. Were the contemporary students of that time inspired by his works and did they study those buildings as examples?
A: Very much so. Buildings designed by Robert Boughey departed from the norm of its time and stood out as clean,
open, transparent and functional without resorting to clichés. Most students at that time had no knowledge of modern
vocabulary and structural expression and when these buildings were being built in plain view of architecture stiudents,
they could see and appreciate the clarity of form and honest structural expression.

4. How the buildings designed by Robert G. Boughey later influenced you and the next generation architects?
A: Students came to appreciate the simple unadorned architecture of Robert Boughey. The prevalent streak of implied
cultural and religious overtones that dominated the architecture scene had been liberated by logical and functional
buildings that Robert Boughey produced.

5. How do you rate his works comparing to the works of the other modernist expatriate architects Louis I Kahn, Paul
Rudolph or C.A. Doxiadis, who worked in the context of 60’s and 70’s in East Pakistan?
A: Other modernist expariates working in East Pakistan at that time relied heavily on brick using concrete only for
short span beams and columns. Boughey was able to take concrete to its maxinmum potential despite the limitations
and used it in the outdawrd formal expression. Rebars and rocks were in short supply but Boughey’s use of concrete
beat a clear path for others to follow. Kahn’s use of concrete as envelope material at the Parliament building was
ambitious and was influenced by examples of Boughey’s use of concrete in Dhaka.

6. Do you think as a western educated modernist architect, Robert G. Boughey was sympathetic enough to develop
his architecture to suit the need of this country, in terms of climate, culture, economy and the technology?
A: Boughey was keenly aware of cultural and climatic sensibilities of the country. Most, if not all of his buildings
could operate without A/C and he used proper orientation, overhangs and sunshades where required to create spaces
that could function in monsoon and sub-tropical location. He never resorted to token ornamentation and religious
overtones to please authorities. As an architect, he used proper professional judgements and due diligence to solve
the functional, climate and budget requirements. Locally educated architects do not have a monoply on ability to solve
local problems. Robert Boughey was a highly qualified professional architect who tackled the problems and solved
them to the best of his ability.

Answers provided by:

Rafique Islam,
Registered Architect, State of Arizona, USA

4. Interview with Architect Haroon Ur Rashid (70s):

Fatema Tasmia , Department of Architecture, BUET xxii

|
1. Was Robert G. Boughey involved or associated with any academic works at the time when you were a student of
B.Arch.?
N/A
2. Do you have any personal experiences with the architect? If yes, please share that in few words.
N/A
3. Were the contemporary students of that time inspired by his works and did they study those buildings as
examples?
I believe, if you would like to evaluate architecture you need to look at three things; first is context that includes
society, climate, site-surrounding, and environment; second is the function and the third is the idea you want to
symbolize which is concept. Boughey’s works in Bangladesh covers all these above points. Modern movement
was then strong (1960s) from now, so it would be correct if you look from that perspective, from this perspective
I think he was a very thinking architect.

4. How the buildings designed by Robert G. Boughey later influenced you and the next generation architects?

Clean lines, simplicity, avoidance of ornamentation which are the principles of modern architecture and Boughey
followed and adapted those principles while practicing here. I believe form must have a reason, in this respect
Boughey was successful to influence us in terms of simplicity, straight forward massing, creating the environment.
I believe, buildings are incidental in creating an environment, in terms of architectural language Boughey’s works
are noteworthy.

5. How do you rate his works comparing to the works of the other modernist expatriate architects Louis I Kahn,
Paul Rudolph or C.A. Doxiadis, who worked in the context of 60’s and 70’s in East Pakistan?

I will see this question differently, as architecture is a part of art, I think it cannot be compared to each other. I
think Boughey’s works haven’t gone to that stretcher, there were lack of publicity as well. I think we architects,
hardly self-criticize! If you search for Kahn’s work’s criticism you will never find, but it is necessary to do critical
appreciation I guess! Doxiadis’s works are also much synchronized with our context and economy, in terms of
complex design.

6. Do you think as a western educated modernist architect, Robert G. Boughey was sympathetic enough to develop
his architecture to suit the need of this country, in terms of climate, culture, economy and the technology?

See all his buildings, climate and culture have been well addressed in every building. I think climate is tangible
and if you think properly and study the context, you can achieve comfort in terms of climate, but I think it is
difficult to grasp the ideas of culture, as it is more intangible, unless you mix properly. Compare to others, I think
he addressed culture quite substantially.

If you go to look at Paul Rudolph’s BAU Hostel, Prayer room was diagonal, where prayer lines are staggered,
so that was perhaps a misunderstanding of culture, It didn’t work, I think it happened because he never came
here, was not embedded to the context. Getting the feel and capturing the spirit of a place, if you haven’t been
there to that place, have not seen it then how do you connect to the place? So it is very important to understand
a place where to design.

The post-operative unchanged layout and form of Boughey’s architecture, says that they are functioning quite
well. Even Muzharul Islam’s few buildings have went through rigorous changes like plastering, painting etc. Yes,
in that sense Boughey’s works are quite successful. By the way, in some cases the post-operative changes were
needed due to user preferences, like masking the perforated walls in Gymnasium as I have heard that it is not
recommended to have wind flow while body building, so yes, in very few cases his buildings went through minor
Fatema Tasmia , Department of Architecture, BUET
xxiii |
 changes. Even the Gymnasium was known as Gymnatorium, before the construction of auditorium, so yes it also
served that purpose. Even whenever we think of an auditorium we think it should be air conditioned but why not
naturally ventilated, even Paul Rudolph’s BAU auditorium is naturally ventilated.

5. Interview with Architect Nahas Khalil (80s):

1. Was Robert G. Boughey involved or associated with any academic works at the time when you were a student of
B.Arch.?
N/A
2. Do you have any personal experiences with the architect? If yes, please share that in few words.
N/A
3. Were the contemporary students of that time inspired by his works and did they study those buildings as
examples?

At that time we were not formally shown those examples but as we resided there (Boys Hostel BUET), we
were influenced by the spaces as students of architecture, we discussed about the buildings. The concept of
“Form Follows Function”, “Less is More” and “Honesty of Expression”, all these are clearly visible in
Boughey’s works, whenever our teachers said about these concept, we can directly relate to those examples
of Boughey, so that was very helpful for us as students, specially Boys Hostel helped us learning about spatial
quality as we lived there, we interacted with those spaces, it helped in defining our perception.

4. How the buildings designed by Robert G. Boughey later influenced you and the next generation architects?

Buildings are intricately designed, leaving façade free of structural bindings, honesty of expression is clearly
visible, Climatically performs better, buildings are North south oriented, cross ventilation in rooms, clear
demarcation of served and service spaces, every building is very “Readable” in terms of formal expression
and structural arrangements, his details of leaving intentional gaps between floor and drop walls, pausing
spout from touching grounds, true expression of cantilevered beam…. These details were live references for
us to clarify our understandings, as very few contemporary local buildings were actually could be followed.

5. How do you rate his works comparing to the works of the other modernist expatriate architects Louis I Kahn,
Paul Rudolph or C.A. Doxiadis, who worked in the context of 60’s and 70’s in East Pakistan?

It is difficult to compare in between architects works, but you compare his works with Doxiadis’. Doxiadis
worked in building complexes whereas Boughey worked in designing individual building, both are equally
important, in case of master planning, indoor outdoor relationship Doxiadis was noteworthy. In terms of
single building design and detailing in building attributes Boughey was very successful.

6. Do you think as a western educated modernist architect, Robert G. Boughey was sympathetic enough to develop
his architecture to suit the need of this country, in terms of climate, culture, economy and the technology?
Yes, totally! Even quite substantial in terms of Culture! Paul Rudolph used louvered façade in Mymensingh
Agricultural University, Beautifully done, but was not followed latterly by local architects, may be because
of the budgetary restrictions. However, Boughey’s influence was over the government works and architects.
So why not other architect (foreign) had those impacts, because Boughey’s works addressed economic
condition/budget of the context, that’s why the works could sustain and later were followed by others.

I consider we were very fortunate that we have seen some effective examples that could be followed just at the threshold
of our cultural identity, like in 1950s western educated architect Muzharul Islam designed Art College that had an
Corbusian influence but in a localized way, he adapted with context; even we witnessed Kahn and his works, if these

Fatema Tasmia , Department of Architecture, BUET

xxiv |
foreign architects’ works were in wrong direction we could hardly attain anything architecturally as a whole, so we
are very lucky that we could have seen some great examples at the starting of our career, that’s why I think we could
cross hurdles and came to this condition in terms of architectural success, unless it could be quite difficult for us.

6. Interview with Architect Jalal Ahmed (80s):

1. Was Robert G. Boughey involved or associated with any academic works at the time when you were a student of
B.Arch.?
N/A
2. Do you have any personal experiences with the architect? If yes, please share that in few words.
N/A
3. Were the contemporary students of that time inspired by his works and did they study those buildings as
examples?

Well we admitted to BUET in 1977, our class started next year January (1978). That the building designed by Architect
Vrooman was so lucrative to us. We lived in hall, all three designed by architect Boughey. After graduation it was
perceived that may be this buildings have evolved with the traditional Bungalow concept, like hall buildings are
flanked by verandahs where floors are stacked one upon another keeping that concept intact. In fact the recessed part
of corridor welcomes daylight at the same time protects from sun and rain, even the rain water collectors, lintels in
verandah…It is very neatly detailed building, beautifully crafted… Connection with cafeteria. Hand wash aria. All
these examples exemplifies the written concepts of the book “Climate and Design” by Koenisberger.I am not sure
whether I was influenced or not but I believe that whatever he have designed, he design with respect to climate.

My College was Notre Dame College and the Mathis house was also designed by Boughey. We were not allowed to
enter as it was the residence of the Fathers’; but that building seems very new to me even haven’t seen this type of
modern building in Dhaka city then… Louvers, recessed room, corridors all elements were very appropriately design
for our climate, The scale of Mathis House is very intimate.. Even the floor finish very simply but effectively done by
the architect.

4. How the buildings designed by Robert G. Boughey later influenced you and the next generation architects?

It is difficult express how inspired it was, but yes these buildings have performed quite well in terms of comfort. The
halls were very open and flexible which is very rare, so I think these hall buildings are quite exemplary in our history
of our architecture. Even the BUET Gymnasium was fantastic, considering its time and context this Neo-Brutistlist
building is very significant. This building is a very good example of how a minor function can be designed and
expressed so sculpturally! He integrated structure with design, even he designed the beams according to load
calculation or moment diagram. I think he was very noteworthy among the foreign architects who had worked here,
his designs were like the model approaches.

Even Kamalapur resembles his true adaptive approach towards climate as a design consideration, it forms a gateway
of the city where a number of functions are located under a super thin shelled concrete canopy! This buildings are
very structurally and rationally and very sensibly done.

These foreign architects have sufficiently tried to accommodate the considerations of our climate and context, but now
a days many buildings are built abruptly without any design and climatic consideration, sometimes this thing bother
me the most !

5. How do you rate his works comparing to the works of the other modernist expatriate architects Louis I Kahn,
Paul Rudolph or C.A. Doxiadis, who worked in the context of 60’s and 70’s in East Pakistan?

We all know that Kahn’s example the National Parliament Building is a master piece, but considering sensitivity to
our context Boughey’s name come at the second position definitely. His group of buildings are recognizable. Paul
Rudolph has a unique style of his own, he designed in that way considering a convert into the tropical climate,
following solidity.
Fatema Tasmia , Department of Architecture, BUET xxv
|
6. Do you think as a western educated modernist architect, Robert G. Boughey was sympathetic enough to develop
his architecture to suit the need of this country, in terms of climate, culture, economy and the technology?

Definitely! He accommodated and adapted his design approaches to align with the concept of climate, culture… No
extra ornamentation, no exaggeration … he was very sensitive to context and climate. His approach is so bold but
subtle that there is no need for the post-operative changes, even it will be difficult to change any element from his
design. As his design is very complete in itself. He was quite successful to design considering local context.

Archiving

Fatema Tasmia , Department of Architecture, BUET

xxvi |
 Figure a. Scanned Documents

Fatema Tasmia , Department of Architecture, BUET

xxvii |
 Figure b. Scanned Documents

Fatema Tasmia , Department of Architecture, BUET

xxviii |
 Fatema Tasmia , Department of Architecture, BUET
xxix |