On occasion, an artist is not only from, but of, a place. Imbued with the very spirit of a locale, and thus inspired to return the favour. Such is the nature of the relationship between the legendary architect Foyez Ullah, and Bangladesh capital city, Dhaka. Dhaka is a city rich with history; borne of eclecticism, and her tremendous growth post-independence has been extraordinary, both culturally and architecturally. From the early Mughal architecture to the Indo-Saracenic style of the colonial era,

to the sheets of steel and glass that characterize a modern metropolis, there’s an aesthetic battle for the city’s very soul being waged. Foyez Ullah has played an active role in this conversation for nearly three decades, weaving a tapestry of work within Dhaka’s realm that declutters her chaotic whims and sets revealing insight into contextspecific architectural response. Through a series of his architectural benchmarks, as well as texts from the architectural critics Vladimir Belogolovsky and Byron Hawes, this volume posits a framework for responsive and contextual architecture for Dhaka in the 21st century.

有时，艺术家不仅来自一个地方，而且属于一个地方。受当地精神所感染，激发了回报的热情。这就是传奇建筑师福伊兹·乌拉（Foyez Ullah）和孟加拉国首都达卡之间关系的本质。达卡是一座历史悠久的城市，独立后，在折衷主义的影响下，无论是在文化上还是在建筑上，都取得了非凡的发展。从早期的莫卧儿建筑到殖民时代的印度撒拉逊风格，再到现代大都市特有的钢铁和玻璃片，一场关于城市灵魂的美学之战正在展开。近三十年来，福伊兹·乌拉在这场对话中发挥了积极的作用，在达卡的领域内创作了许多作品，解开了这座城市混乱的奇思妙想，并为特定背景下的建筑反应提供了启示。本书通过福伊兹·乌拉的一系列建筑基准，以及建筑评论家弗拉基米尔·别洛戈洛夫斯基（Vladimir Belogolovsky）和拜伦·霍斯（Byron Hawes）的文章，为21世纪的达卡提出了一个响应性和背景性建筑的框架。