Bangladesh is a culturally and historically rich country. Its culture has changed over time, embracing new aspects while eschewing others. In addition to eradicating undesirable characteristics, this change resulted in the loss of priceless customs. Human behaviour, beliefs, festivals, and religion are all part of culture, which is dynamic and changes as societies do. Bangladesh is a small country, but it has a rich Bengali legacy that is reflected in its ageless dance, music, literature, festivals, and traditional customs. But in the globalised world of today, Western influences—which are frequently seen as ideal—pose a threat to our culture. The dominance of stronger nations over weaker ones in the areas of media, education, economics, and technology is referred to as cultural imperialism.

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Due to economic difficulties after Bangladesh gained its independence, many people looked for work elsewhere. Due to social media and quick communication, subsequent generations have embraced Western trends more and more, displacing local culture. As a result, customs, songs, and stories are progressively disappearing.
The goal of my project, a cultural complex in Mymensingh, is to celebrate and preserve regional culture. Folk melodies and ballads like the Mymensingh Geetika are a testament to Mymensingh's rich cultural legacy. My design concept, Synergy with History and Cultural Activity, is inspired by this oral history, which captures the richness of the local culture. While emphasising areas that represent regional customs and urban activity, the design integrates aspects from the Geetika. The cultural complex seeks to preserve Mymensingh's heritage while offering a vibrant environment for upcoming generations to stay connected to their heritage.

The design harmonises with the existing water body while adopting a modernist approach. The water body symbolises the gentleness of Bengali culture, while the strong, bold lines stand for tenacity and strength. The predominance of these rigid boundaries is a reflection of the power of culture. Future generations will learn from the design that, despite our outward modernity, we are really traditional.

The Geetika's Bondona (introductory words), which respects all directions—north, south, east, and west—served as the inspiration for the design's primary axis. Visitors and cultural practitioners participating in dance, theatre, and singing are the building's two main user groups. For these groups, separate entries have been created.
While the main entry for guests leads via a friendly plaza, the academic entrance can be reached from a lateral road. There are separate entrances to the administration, auditorium, and plaza areas.

Ground floor outdoor areas are arranged in accordance with Geetika references, especially the "Jol-er Ghat" (waterfront). Important features, such the open amphitheatre, auditorium, and welcome plaza, represent the Geetika's "Bahir Barir Tamasha" (outside festivals), in which outdoor events take place in public areas. The water body, encircled by amenities such as the café, amphitheatre, and spaces for scholarly gatherings, mirrors the vibrant activities customarily connected to the Jol-er Ghat. Additionally, the incorporation of lush flora into the design incorporates references to Geetika forests and paths.
Exhibition and museum spaces occupy the second and third floors. The museum's galleries are arranged according to a chronology of Mymensingh's past. These consist of the Mughal Gallery, Colonial Exploitation Gallery, Capitalist Era Gallery, and Enlightenment Era Gallery (oral history). Each gallery shows how powerful nations around the world have gradually changed and exploited Bengali culture.

The goal of the project is to remind people of their origins, identity, and current defining characteristics