The project explores the intersection of tradition, sustainability and innovation aiming to preserve and provide a space to modernize an ancient traditional craft while empowering communities and fostering a deeper connection to Bangladesh’s riverine heritage with modern design, creating a space for boat makers, fishermen, locals, and tourists. The centre provides vibrant and inclusive space that celebrates the rich cultural heritage of Bangladesh while nurturing and promoting entrepreneurial spirit among its community. From facilitating daily life to inspiring artistic expression, the boat culture is a living testament to Bangladesh’s identity as a riverine nation. Charpathorghata is a village in Patiya Upazila in Chittagong district rely on generational boat crafting as their source of income. The site is located on the bank of the Karnaphuli river. A part of the site is located under the karnaphuli bridge (Notun Bridge). The bridge spans the Karnaphuli river, which has been central to Chittagong’s boat-making legacy. This placement highlights the deep connection between craft, water, and modern development. Hence the site justifies the concept of the project.
The purpose of this project is to address two objectives at the same time: “How to revitalize a relatively remote boat makers community and how to help to preserve elements of heritage through the means of design.”
Project aims to create a co-existence between tradition and modernization
The concept is inspired by the spine of a boat structure which is from the beautiful craftsmanship of wooden boat, the geometry of their hulls and ornamentation of their carvings. The essence of river and the boat skeleton structure is a major influence in my design. The projects explore the dynamic interplay of tradition and modernity, skillfully crafting a bridge between time-honored craftsmanship with contemporary design and contemporary boat making zones to create a unique narrative that honors our heritage while embracing innovation.
TRADITION + MODERNITY

The primary objective of this design project is to create an architecture framework that preserve the traditional boat heritage and encompasses the local boat makers community by fostering a sense of belonging, cultural prides and economic stability.
From the research stage to construction, the sociological dimension is addressed through extensive community involvement. In this riverine setting, the centre acts as a centre for social interaction, education, and creativity as well as a nucleus of socioeconomic activity.
This multifaceted project encompasses several key units, including a museum that showcases the rich history and artistry of wooden boat building, which serves to educate visitors about the heritage and techniques of this age-old craft. Through exhibits and educational programs, the museum will help visitors and tourists to understand the cultural significance of this craft and the stories behind the boats. Additionally, a public space is designed to engage the community and promote interaction between artisans and visitors, fostering appreciation for the skill involved in boat making.
The relationship between man and nature is intimate in culture. The Karnaphuli river still has it. Since culture is shaped by nature, the locals' customs and habits are also very specific. Large-scale events like fishing festivals, boat races (sampan baich), and kite flying festivals are planned each year with great care. To enjoy the festival open plaza will serve as a vibrant gathering spot for events and celebrations, promoting community spirit and engagement with the heritage of wooden boat racing. Additionally, the riverfront development focuses on optimizing the natural landscape along the waterway. It integrates pathways, seating areas, and green spaces, creating an inviting environment for both residents and visitors. The riverfront serves not only as a picturesque backdrop but also as an active area for recreational activities and waterfront programming.
The boat-making zone will be equipped with state-of-the-art workshops and facilities where craftsmen can collaborate, innovate, and pass on their skills to future generations. This dedicated space recognizes the importance of traditional techniques while encouraging exploration of contemporary practices, ensuring the longevity of this craft in a modern context. Along with the boat making zone there are research unit, medical room, resting zone and community kitchen are provided. So, first aid and medical facility, fishing, food facility, training and research facility with adequate lighting and ventilation for the boat craftsmen. There is open boat making zone which will use as the place of “ Nauka Haat” where it could be served as the selling space of wooden boat (nouka) . In boat making workshop the craftsmen are provided with facilities like medical room, resting zone, food , fishing and sufficient natural light and ventilation along with knowledge sharing space under elevated bridge to learn from the masters about boat making techniques. In addition to the core components of the project, the underutilized space beneath the bridge area will be transformed into a net mending zone, which will be served as a temporary shop or market space at the time of festival zone.
All zones are visually and physically connected with elevated bridge which act as a viewing bridge to connect people with nature and water in a soft gentle and deep way like a gentle flowing water where the contextual landscape is kept intact.

In the design strategy of “Crafting Centre,” the rethinking of sustainable architecture has been linked with locally practiced “Traditional Boat-making crafts”. In this process local adaptive method of vernacular architecture and available local material has been used so that local craftsman can built the structure. The design integrates traditional craftsmanship with contemporary sustainability, honouring the ancestral wisdom of boat makers and related communities. In terms of sustainability, the design prioritizes using eco-friendly wooden materials and traditional building practices along with the steel joint ensuring that the construction and operation of the institute align with environmentally respectful principles. When compared to other construction systems, GLULAM has a NEAR-ZERO carbon footprint. It has been demonstrated to be a more durable and appropriate material in this context and cultural aspect. In designing the boat crafting centre, I essentially to focused on the people who would use the space and their relationships with it. Research demonstrates that environments emphasizing human interaction can significantly enhance creativity and community engagement. By incorporating biophilic design principles—such as communal crafting workshops, open collaboration spaces, and areas that provide visual and physical connections to the natural environment—the centre work as a cultural hub and can foster a spirit of collaboration and shared learning among artisans