Architects: Sthapotik
Area: 2116 ft²
Year: 2022
Photographs: Asif Salman
Lead Architect: Sharif Uddin Ahammed
Drawing and Site Supervision: Sharif Uddiin Ahammed, S.M. Mushhfiqul Karim, Sadeka Badiozzamman
Documentation Team: Sharif Uddiin Ahammed, Syeda Saikha Sudah, Asifa Jamal
City: Manikganj
Country: Bangladesh
The Shah Muhammad Mohshin Khan Mausoleum, designed by Sthapotik in Bengal, honors the Sufi Pir of the Uwaisi Tariqa through a distinctive red brick structure inspired by the region’s Islamic architectural heritage. Sufism has deep roots in Bengal, where Sufi saints influenced religious and cultural development. The mausoleum reflects Bengal’s history of diverse rulers, drawing from the Sultani period’s square-plan mosques and tombs. The “Chandelier of the Paradise” design symbolizes a portal connecting the physical and spiritual worlds, with natural light filtering through circular ceiling openings to create a celestial atmosphere. The structure’s form follows traditional square Islamic tomb plans, incorporating a raised marble platform for three graves. Its unobtrusive design blends into the residential context, emphasizing informal access and subtle massing. The 24-foot-high ceiling features 36 circular openings, with 16 cylindrical droppings that create a dynamic chandelier effect. Local masons built the mausoleum using bamboo scaffolding, overcoming challenges to hang the concrete droppings. Red brick, a material linked to Bengal’s historical architecture, forms the envelope, while concrete elements support the structure. The graves are placed on a white marble platform, offering a respectful and serene setting.
Sufism is one of the most profound and contemplative aspects of Islam, emphasizing a philosophical and social approach to fostering closeness with Allah (Schimmel, A., 1975). Sufi saints played a pivotal role in spreading Islam in Bengal through their religious dedication, exemplary character, and humanitarian efforts. They also advised regional rulers, influencing them to engage in charitable work. The Uwaisi is a Sufi Tariqa (pathway) that transmits Islamic mysticism spiritually and is named after Owais al-Qarani. This project is a Dargah for the Pir of the Uwaisi Tariqa. The term “Pir,” though Persian, became locally used due to the influence of Persian saints in spreading Islam in the region. Originally, the Pir’s graves were located within his residence, but later, his descendants decided to construct a unique mausoleum to honor his memory and contributions.
Bengal has experienced a succession of diverse rulers over time, resulting in a land rich with various cultures, beliefs, and philosophies. This diversity led to the development of unique characteristics in Bengal’s culture, religious practices, and architecture. From the 13th century until the British takeover in the mid-18th century, Bengal was under Muslim rule. During the Sultanate period (1342-1576), nearly three-quarters of Bengal’s mosques were built, most featuring a square plan, in contrast to the longer rectangular Turkish mosques. While few tombs exist in Bengal, those that do display significant variety and regional adaptations of Islamic forms. The design and materials of the Dargah draw strong inspiration from the mosques and tombs of the Sultani period.
Concept: Chandelier of the Paradise – The design evolves from available techniques, resources, ideology, and local culture, creating an integrated solution naturally embraced by the community. A Dargah, traditionally a resting place for a revered religious figure, such as a Sufi saint or dervish, serves as a spiritual home. In Persian, “Dargah” means “portal,” symbolizing the transition where the body rests, and the soul journeys to paradise. The chandelier of paradise represents this connection, linking the earthly body to a higher power through divine light. The light patterns from the chandelier create a celestial ambiance, evoking spiritual reflection. While the outer shell represents the tangible world, the inner space transcends reality into the spiritual realm.
Form Generation – In Islamic architecture of the subcontinent, square units were predominantly used for tombs (Koch, E. 1991). These tombs were largely inspired by the traditional Bengal huts. The Dargah follows this square plan, measuring 36 by 36 feet, and houses three graves on a white marble platform. Unlike the “Vitti” of traditional huts, the Dargah’s plinth is raised by 3 feet. The design integrates naturally within its residential context, maintaining an informal, organic approach without a formal entrance. This approach engages the structure’s corner, offering a three-dimensional perspective of its massing.
The structure stands 24 feet tall on a 3-foot raised square base. The ceiling, inspired by multi-domed mosques of the Sultani period, features thirty-six circular openings. Of these, sixteen become cylindrical droppings suspended from the waffle ceiling, together forming a dynamic chandelier. Natural light filters through the chandelier, casting patterns on the floor, enhancing the spiritual ambiance. In line with Sultani-period mosques, corner turrets emphasize the structure’s significance. The Dargah’s side elevations feature a series of reinvented turrets, blending traditional forms with a modern twist to create an iconic composition. These half-circular turrets, with perforated jalis, provide natural lighting and ventilation.
Constructional Intervention – Due to limited resources, local masons and construction techniques were employed. The natural length of locally sourced bamboo required the scaffolding to be built in three stages to construct the 21-foot-high ceiling. The most challenging aspect was hanging the 6-foot concrete cylindrical droppings from the waffle slab. First, the waffle slab, with circular perforations, was cast, and then the cylindrical droppings were suspended from it. Each cylindrical dropping was cast in four parts using metal shuttering, with two divisions of 3 feet each to form the 6-foot structures within the waffle framework. Natural light filtered through the perforated slab, reflecting inside the cylindrical droppings to create a dramatic effect. The half-circular brick turrets were cast to align with the chandelier ceiling’s edges.
Materials – Brick has been used in Bengal since the medieval period, dating back to the construction of Buddhist monasteries. During the Sultani period, brick and terracotta were the primary materials for building enclosures. The community strongly associates with the striking presence of red brick structures, so the Dargah’s envelope and base were made entirely of red brick to ensure uniformity and significance. Naturally burned red bricks were carefully selected from local brick fields to enhance the sense of localization. Concrete was used for structural elements—such as columns, slabs, and cylindrical droppings—due to its ability to support larger spans and heavier loads, offering more construction flexibility. The three graves are set on a raised white marble base atop the brick floor.
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Project Location
Address: V26C+9FW, Shib Bari, Manikganj, Bangladesh
Location is for general reference and may represent a city or country, not necessarily a precise address.
