Azam understands old Dhaka not just as home, as a harbour of treasured memories, but also as a keen student of its urben morphology, its residential typologies, and its constituent and characteristics elements. He understands its urban science: its spatial systems, its underlying structures and arrangements, its scale and dimention, and its patterns and its textures. Azam though extends this knowledge to greater appreciation of Dhaka generally and its modern architectural heritage. He understands, for example, Louis Kahn's doubled skins at Jatiyo Sangsad Bhaban (National Assembly) as climatic shields and then, in a form of localised critique, turns them on their side, slicing Platonic geometric openings in concrete parasols, offering not just shade but heaven-sent purity as cast light. This is finding Dhaka..