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Kumartuli | Kumortuli | Kolkata by dynamo.photography

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++++++++++ FROM WIKIPEDIA ++++++++++

Kumortuli (also spelt Kumartuli, or the archaic spelling Coomartolly) is a traditional potters’ quarter in northern Kolkata (previously known as Calcutta), the capital of the east Indian state of West Bengal. The city is famous as a sculpting hot-spot which not only manufactures clay idols for various festivals but also regularly exports them.

History

The British colonisation of Bengal and India started following the victory of the British East India Company in the Battle of Plassey in 1757. The Company decided to build new settlement Fort William at the site of the Gobindapur village. Most of the existing population shifted to Sutanuti. While such neighbourhoods as Jorasanko and Pathuriaghata became the centres of the local rich, there were other areas that were developed simultaneously.[1] The villages of Gobindapur, Sutanuti and Kalikata developed to give rise to the latter day metropolis of Calcutta.

Holwell, under orders from the Directors of the British East India Company, allotted ‘separate districts to the Company’s workmen.’ These neighbourhoods in the heart of the Indian quarters acquired the work-related names – Suriparah (the place of wine sellers), Collotollah (the place of oil men), Chuttarparah (the place of carpenters), Aheeritollah (cowherd's quarters), Coomartolly (potters’ quarters) and so on.[2]

Most of the artisans living in the north Kolkata neighbourhoods dwindled in numbers or even vanished, as they were pushed out of the area in the late nineteenth century by the invasion from Burrabazar.[3] In addition, Marwari businessmen virtually flushed out others from many north Kolkata localities. The potters of Kumortuli, who fashioned the clay from the river beside their home into pots to be sold at Sutanuti Bazar (later Burrabazar), managed to survive in the area. Gradually they took to making the images of gods and goddesses, worshipped in large numbers in the mansions all around and later at community pujas in the city and beyond.[4]

In 1888, one of the 25 newly organized police section houses was located in Kumartuli.[5]

Geography

Kumortuli is located in Ward No. 9 of Kolkata Municipal Corporation, mostly between Rabindra Sarani (formerly Chitpur Road) and the Hooghly River. It is between Ahiritola and Shobhabazar.[6] In maps showing thanas or police stations in old Kolkata, Kumortuli is shown as being between Shyampukur, Bartala, Jorasanko, Jorabagan and Hooghly River.[7]

Culture

Dhakeswari Mata Temple

Dhakeswari Mata Temple is a Hindu temple located in Kumortuli, Near Sovabazar, Kolkata. Situated in eastern bank of hooghly river near Kumartolly area. The presiding deity of the temple is Devi Durga, which was taken to Kolkata in 1947 from Dhakeswari Temple in Dhaka, Bangladesh.[8][9]

The idol is 1.5 feet tall, has ten arms, mounted on her lion in the form of Katyani Mahishasurmardini Durga. On her two sides are Laxmi, Saraswati, Kartik and Ganesh.[8] And the mount, lion, is Mythological Lion. There are rumours surrounding the origin of this temple. It is believed that the wife of King Bijoy Sen once went to the village of Langolbond to bathe. On her way back she gave birth to a son, Ballal Sen.[10] Later this Prince became King of the Sena destiny. After ascending to the throne, Ballal Sen built a temple to glorify his birthplace, which is known as Dhakeswari temple, Bangladesh.[11]

Ballal Sen proceeded to have vivid dreams, one of which involved the deity Durga. He dreamt that Durga was hidden within the jungle; he then discovered the deity who was concealed there. In order to celebrate this discovery, he built a temple later named Dhakeswari. This explains the etymological meaning of "Dhakeswari", which means "covered or hidden deity". According to Bengali Hindus Dhakeswari is considered to be the presiding deity of Dhaka, which is an incarnation or form of Goddess Durga, the Adi Shakti. The idol of Durga is called Dhakeswari.[12]

Location in Kolkata

In 1947, during the Partition of India, priests of the temple decided to evacuate the idol from Kolkata to Dhaka due to security reasons.[8][13][14]

After this, a Tiwari family from Azamgarh was appointed by the royal family to undertake daily worship of the deity. In 1946, the descendants of that family, Prallad Kishore Tiwari (or Rajendra Kishore Tiwari) transported the idol in a highly confidential aircraft to Kolkata and was re-appointed, where they still serve the Goddess continuously. After taken to Kolkata, the idol spent the next 2 or 3 years worshipping in the Debendranath Chowdhury home.[8]

In 1950 the businessman Debendranath Chowdhary built the temple of Goddess in the Kumortuli area and established some of the Goddess' property for her daily services.[8]

The Dhakeshwari devi worship is different from the traditional Durga puja of Bengal. According to the current priest of the temple, Shaktiprasad Ghosal, during Durga Puja, the goddess is worshiped in accordance with the Navratri or nine night rituals of Northern India.[8]

Famous residents

Being in the periphery of the heart of Kolkata, Kumortuli was home to a number of renowned persons during the Bengal Renaissance.

There is a road in Kumortuli named after Nandram Sen, famous as Black Deputy, and the first collector of Kolkata in 1700.[15] Gobindram Mitter, the next Black Deputy, had a sprawling house at Kumortuli spread on 50 bighas (around 16 acres) of land.[16]

Banamali Sarkar's famous house which is immortalized in Bengali rhyming proverb, was there till the 19th century. He has a winding lane named after him in Kumortuli.[17]

Kolkata /koʊlˈkɑːtə/ ([kolkata] (About this soundlisten), also known as Calcutta /kælˈkʌtə/, the official name until 2001) is the capital of the Indian state of West Bengal. Located on the east bank of the Hooghly River approximately 75 kilometres (47 mi) west of the border with Bangladesh, it is the principal commercial, cultural, and educational centre of East India, while the Port of Kolkata is India's oldest operating port and its sole major riverine port. The city is widely regarded as the "cultural capital" of India, and is also nicknamed the "City of Joy".[1][2][3].According to the 2011 Indian census, it is the seventh most populous city. the city had a population of 4.5 million, while the population of the city and its suburbs was 14.1 million, making it the third-most populous metropolitan area in India. Recent estimates of Kolkata Metropolitan Area's economy have ranged from $60 to $150 billion (GDP adjusted for purchasing power parity) making it third most-productive metropolitan area in India, after Mumbai and Delhi.[11][12][13]

In the late 17th century, the three villages that predated Calcutta were ruled by the Nawab of Bengal under Mughal suzerainty. After the Nawab granted the East India Company a trading licence in 1690,[15] the area was developed by the Company into an increasingly fortified trading post. Nawab Siraj ud-Daulah occupied Calcutta in 1756, and the East India Company retook it the following year. In 1793 the East India company was strong enough to abolish Nizamat (local rule), and assumed full sovereignty of the region. Under the company rule, and later under the British Raj, Calcutta served as the capital of British-held territories in India until 1911, when its perceived geographical disadvantages, combined with growing nationalism in Bengal, led to a shift of the capital to New Delhi. Calcutta was the centre for the Indian independence movement; it remains a hotbed of contemporary state politics. Following Indian independence in 1947, Kolkata, which was once the centre of modern Indian education, science, culture, and politics, suffered several decades of economic stagnation.

As a nucleus of the 19th- and early 20th-century Bengal Renaissance and a religiously and ethnically diverse centre of culture in Bengal and India, Kolkata has local traditions in drama, art, film, theatre, and literature. Many people from Kolkata—among them several Nobel laureates—have contributed to the arts, the sciences, and other areas. Kolkata culture features idiosyncrasies that include distinctively close-knit neighbourhoods (paras) and freestyle intellectual exchanges (adda). West Bengal's share of the Bengali film industry is based in the city, which also hosts venerable cultural institutions of national importance, such as the Academy of Fine Arts, the Victoria Memorial, the Asiatic Society, the Indian Museum and the National Library of India. Among professional scientific institutions, Kolkata hosts the Agri Horticultural Society of India, the Geological Survey of India, the Botanical Survey of India, the Calcutta Mathematical Society, the Indian Science Congress Association, the Zoological Survey of India, the Institution of Engineers, the Anthropological Survey of India and the Indian Public Health Association. Though home to major cricketing venues and franchises, Kolkata differs from other Indian cities by giving importance to association football and other sports.

Etymology

The word Kolkata derives from the Bengali term Kôlikata (Bengali: কলিকাতা) [ˈkɔlikat̪a], the name of one of three villages that predated the arrival of the British, in the area where the city eventually was to be established; the other two villages were Sutanuti and Govindapur.[16]

There are several explanations about the etymology of this name:

The term Kolikata is thought to be a variation of Kalikkhetrô [ˈkalikʰːet̪rɔ] (Bengali: কালীক্ষেত্র), meaning "Field of [the goddess] Kali". Similarly, it can be a variation of 'Kalikshetra' (Sanskrit: कालीक्षेत्र, lit. "area of Goddess Kali").

Another theory is that the name derives from Kalighat.[17]

Alternatively, the name may have been derived from the Bengali term kilkila (Bengali: কিলকিলা), or "flat area".[18]

The name may have its origin in the words khal [ˈkʰal] (Bengali: খাল) meaning "canal", followed by kaṭa [ˈkata] (Bengali: কাটা), which may mean "dug".[19]

According to another theory, the area specialised in the production of quicklime or koli chun [ˈkɔlitɕun] (Bengali: কলি চুন) and coir or kata [ˈkat̪a] (Bengali: কাতা); hence, it was called Kolikata [ˈkɔlikat̪a] (Bengali: কলিকাতা).[18]

Although the city's name has always been pronounced Kolkata [ˈkolkat̪a] (Bengali: কলকাতা) or Kôlikata [ˈkɔlikat̪a] (Bengali: কলিকাতা) in Bengali, the anglicised form Calcutta was the official name until 2001, when it was changed to Kolkata in order to match Bengali pronunciation.[20] (It should be noted that "Calcutt" is an etymologically unrelated place name found at several locations in England.)

History

The discovery and archaeological study of Chandraketugarh, 35 kilometres (22 mi) north of Kolkata, provide evidence that the region in which the city stands has been inhabited for over two millennia.[21][22] Kolkata's recorded history began in 1690 with the arrival of the English East India Company, which was consolidating its trade business in Bengal. Job Charnock, an administrator who worked for the company, was formerly credited as the founder of the city;[23] In response to a public petition,[24] the Calcutta High Court ruled in 2003 that the city does not have a founder.[25] The area occupied by the present-day city encompassed three villages: Kalikata, Gobindapur, and Sutanuti. Kalikata was a fishing village; Sutanuti was a riverside weavers' village. They were part of an estate belonging to the Mughal emperor; the jagirdari (a land grant bestowed by a king on his noblemen) taxation rights to the villages were held by the Sabarna Roy Choudhury family of landowners, or zamindars. These rights were transferred to the East India Company in 1698.[26]:1

In 1712, the British completed the construction of Fort William, located on the east bank of the Hooghly River to protect their trading factory.[27] Facing frequent skirmishes with French forces, the British began to upgrade their fortifications in 1756. The Nawab of Bengal, Siraj ud-Daulah, condemned the militarisation and tax evasion by the company. His warning went unheeded, and the Nawab attacked; he captured Fort William which led to the killings of several East India company officials in the Black Hole of Calcutta.[28] A force of Company soldiers (sepoys) and British troops led by Robert Clive recaptured the city the following year.[28] Per the 1765 Treaty of Allahabad following the battle of Buxar, East India company was appointed imperial tax collector of the Mughal emperor in the province of Bengal, Bihar and Orissa, while Mughal-appointed Nawabs continued to rule the province.[29] Declared a presidency city, Calcutta became the headquarters of the East India Company by 1773.[30] In 1793, ruling power of the Nawabs were abolished and East India company took complete control of the city and the province. In the early 19th century, the marshes surrounding the city were drained; the government area was laid out along the banks of the Hooghly River. Richard Wellesley, Governor-General of the Presidency of Fort William between 1797 and 1805, was largely responsible for the development of the city and its public architecture.[31] Throughout the late 18th and 19th century, the city was a centre of the East India Company's opium trade.[32]

By the 1850s, Calcutta had two areas: White Town, which was primarily British and centred on Chowringhee and Dalhousie Square; and Black Town, mainly Indian and centred on North Calcutta.[33] The city underwent rapid industrial growth starting in the early 1850s, especially in the textile and jute industries; this encouraged British companies to massively invest in infrastructure projects, which included telegraph connections and Howrah railway station. The coalescence of British and Indian culture resulted in the emergence of a new babu class of urbane Indians, whose members were often bureaucrats, professionals, newspaper readers, and Anglophiles; they usually belonged to upper-caste Hindu communities.[34] In the 19th century, the Bengal Renaissance brought about an increased sociocultural sophistication among city denizens. In 1883, Calcutta was host to the first national conference of the Indian National Association, the first avowed nationalist organisation in India.[35]

Bengali billboards on Harrison Street. Calcutta was the largest commercial centre in British India.

The partition of Bengal in 1905 along religious lines led to mass protests, making Calcutta a less hospitable place for the British.[36][37] The capital was moved to New Delhi in 1911.[38] Calcutta continued to be a centre for revolutionary organisations associated with the Indian independence movement. The city and its port were bombed several times by the Japanese between 1942 and 1944, during World War II.[39][40] Coinciding with the war, millions starved to death during the Bengal famine of 1943 due to a combination of military, administrative, and natural factors.[41] Demands for the creation of a Muslim state led in 1946 to an episode of communal violence that killed over 4,000.[42][43][44] The partition of India led to further clashes and a demographic shift—many Muslims left for East Pakistan (present day Bangladesh), while hundreds of thousands of Hindus fled into the city.[45]

During the 1960s and 1970s, severe power shortages, strikes, and a violent Marxist–Maoist movement by groups known as the Naxalites damaged much of the city's infrastructure, resulting in economic stagnation.[46] The Bangladesh Liberation War of 1971 led to a massive influx of thousands of refugees, many of them penniless, that strained Kolkata's infrastructure.[47] During the mid-1980s, Mumbai (then called Bombay) overtook Kolkata as India's most populous city. In 1985, prime minister Rajiv Gandhi dubbed Kolkata a "dying city" in light of its socio-political woes.[48] In the period 1977–2011, West Bengal was governed from Kolkata by the Left Front, which was dominated by the Communist Party of India (CPM). It was the world's longest-serving democratically elected communist government, during which Kolkata was a key base for Indian communism.[49][50][51] In the West Bengal Legislative Assembly election, 2011, Left Front was defeated by the Trinamool Congress. The city's economic recovery gathered momentum after the 1990s, when India began to institute pro-market reforms. Since 2000, the information technology (IT) services sector has revitalised Kolkata's stagnant economy. The city is also experiencing marked growth in its manufacturing base.[52]

Geography

Spread roughly north–south along the east bank of the Hooghly River, Kolkata sits within the lower Ganges Delta of eastern India approximately 75 km (47 mi) west of the international border with Bangladesh; the city's elevation is 1.5–9 m (5–30 ft).[53] Much of the city was originally a wetland that was reclaimed over the decades to accommodate a burgeoning population.[54] The remaining undeveloped areas, known as the East Kolkata Wetlands, were designated a "wetland of international importance" by the Ramsar Convention (1975).[55] As with most of the Indo-Gangetic Plain, the soil and water are predominantly alluvial in origin. Kolkata is located over the "Bengal basin", a pericratonic tertiary basin.[56] Bengal basin comprises three structural units: shelf or platform in the west; central hinge or shelf/slope break; and deep basinal part in the east and southeast. Kolkata is located atop the western part of the hinge zone which is about 25 km (16 mi) wide at a depth of about 45,000 m (148,000 ft) below the surface.[56] The shelf and hinge zones have many faults, among them some are active. Total thickness of sediment below Kolkata is nearly 7,500 m (24,600 ft) above the crystalline basement; of these the top 350–450 m (1,150–1,480 ft) is Quaternary, followed by 4,500–5,500 m (14,760–18,040 ft) of Tertiary sediments, 500–700 m (1,640–2,300 ft) trap wash of Cretaceous trap and 600–800 m (1,970–2,620 ft) Permian-Carboniferous Gondwana rocks.[56] The quaternary sediments consist of clay, silt, and several grades of sand and gravel. These sediments are sandwiched between two clay beds: the lower one at a depth of 250–650 m (820–2,130 ft); the upper one 10–40 m (30–130 ft) in thickness.[57] According to the Bureau of Indian Standards, on a scale ranging from I to V in order of increasing susceptibility to earthquakes, the city lies inside seismic zone III.[58]

Urban structure

Howrah Bridge from the western bank of the Ganges

The Kolkata metropolitan area is spread over 1,886.67 km2 (728.45 sq mi)[59]:7 and comprises 3 municipal corporations (including Kolkata Municipal Corporation), 39 local municipalities and 24 panchayat samitis, as of 2011.[59]:7 The urban agglomeration encompassed 72 cities and 527 towns and villages, as of 2006.[60] Suburban areas in the Kolkata metropolitan area incorporate parts of the following districts: North 24 Parganas, South 24 Parganas, Howrah, Hooghly, and Nadia.[61]:15 Kolkata, which is under the jurisdiction of the Kolkata Municipal Corporation (KMC), has an area of 185 km2 (71 sq mi).[60] The east–west dimension of the city is comparatively narrow, stretching from the Hooghly River in the west to roughly the Eastern Metropolitan Bypass in the east—a span of 9–10 km (5.6–6.2 mi).[62] The north–south distance is greater, and its axis is used to section the city into North, Central, and South Kolkata. East Kolkata is also a section.

North Kolkata is the oldest part of the city. Characterised by 19th-century architecture, dilapidated buildings, overpopulated slums, crowded bazaars, and narrow alleyways, it includes areas such as Shyambazar, Hatibagan, Maniktala, Kankurgachi, Rajabazar, Shobhabazar, Shyampukur, Sonagachi, Kumortuli, Bagbazar, Jorasanko, Chitpur, Pathuriaghata, Cossipore, Kestopur, Sinthee, Belgachia, Jorabagan, and Dum Dum.[63]:65–66 The northern suburban areas like Baranagar, Durganagar, Noapara, Dunlop, Dakshineswar, Nagerbazar, Belghoria, Agarpara, Sodepur, Madhyamgram, Barasat, Birati, Khardah up to Barrackpur are also within the city of Kolkata (as a metropolitan structure).

Central Kolkata

Central Kolkata hosts the central business district. It contains B. B. D. Bagh, formerly known as Dalhousie Square, and the Esplanade on its east; Strand Road is on its west.[64] The West Bengal Secretariat, General Post Office, Reserve Bank of India, High Court, Lalbazar Police Headquarters, and several other government and private offices are located there. Another business hub is the area south of Park Street, which comprises thoroughfares such as Chowringhee, Camac Street, Wood Street, Loudon Street, Shakespeare Sarani, and A. J. C. Bose Road.[65] The Maidan is a large open field in the heart of the city that has been called the "lungs of Kolkata"[66] and accommodates sporting events and public meetings.[67] The Victoria Memorial and Kolkata Race Course are located at the southern end of the Maidan. Other important areas of Central Kolkata are Park Circus, Burrabazar, College Street, Sealdah, Taltala, Janbazar, Bowbazar, Entally, Chandni Chowk, Lalbazar, Chowringhee, Dharmatala, Tiretta Bazar, Bow Barracks, Mullick Bazar, Park Circus, Babughat etc. Among the other parks are Central Park in Bidhannagar and Millennium Park on Strand Road, along the Hooghly River.

South Kolkata

South Kolkata developed after India gained independence in 1947; it includes upscale neighbourhoods such as Ballygunge, Alipore, New Alipore, Lansdowne, Bhowanipore, Kalighat, Dhakuria, Gariahat, Tollygunge, Naktala, Jodhpur Park, Lake Gardens, Golf Green, Jadavpur, Garfa, Kalikapur, Haltu, Nandi Bagan, Santoshpur, Baghajatin, Garia, Ramgarh, Raipur, Kanungo Park, Ranikuthi, Bikramgarh, Bijoygarh, Bansdroni and Kudghat.[16] Outlying areas of South Kolkata include Garden Reach, Khidirpur, Metiabruz, Taratala, Majerhat, Budge Budge, Behala, Sarsuna, Barisha, Parnasree Pally, Thakurpukur, Maheshtala and Joka. The southern suburban neighbourhoods like Mahamayatala, Pratapgarh, Kamalgazi, Narendrapur, Sonarpur, Subhashgram and Baruipur are also within the city of Kolkata (as metropolitan, urban agglomeration area). Fort William, on the western part of the city, houses the headquarters of the Eastern Command of the Indian Army;[68] its premises are under the jurisdiction of the army.

East Kolkata

East Kolkata is largely composed of newly developed areas and neighbourhoods of Saltlake, Rajarhat, Tangra, Topsia, Kasba, Anandapur, Mukundapur, Picnic Garden, Beleghata, Ultadanga, Phoolbagan, Kaikhali, Lake Town, etc. Two planned townships in the greater Kolkata region are Bidhannagar, also known as Salt Lake City and located north-east of the city; and Rajarhat, also called New Town and sited east of Bidhannagar.[16][69] In the 2000s, Sector V in Bidhannagar developed into a business hub for information technology and telecommunication companies.[70][71] Both Bidhannagar and New Town are situated outside the Kolkata Municipal Corporation limits, in their own municipalities.[69]

Climate

Kolkata is subject to a tropical wet-and-dry climate that is designated Aw under the Köppen climate classification. According to a United Nations Development Programme report, its wind and cyclone zone is "very high damage risk".[58]

Temperature

The annual mean temperature is 26.8 °C (80.2 °F); monthly mean temperatures are 19–30 °C (66–86 °F). Summers (March–June) are hot and humid, with temperatures in the low 30s Celsius; during dry spells, maximum temperatures often exceed 40 °C (104 °F) in May and June.[72] Winter lasts for roughly two-and-a-half months, with seasonal lows dipping to 9–11 °C (48–52 °F) in December and January. May is the hottest month, with daily temperatures ranging from 27–37 °C (81–99 °F); January, the coldest month, has temperatures varying from 12–23 °C (54–73 °F). The highest recorded temperature is 43.9 °C (111.0 °F), and the lowest is 5 °C (41 °F).[72] The winter is mild and very comfortable weather pertains over the city throughout this season. Often, in April–June, the city is struck by heavy rains or dusty squalls that are followed by thunderstorms or hailstorms, bringing cooling relief from the prevailing humidity. These thunderstorms are convective in nature, and are known locally as kal bôishakhi (কালবৈশাখী), or "Nor'westers" in English.[73]

Rains brought by the Bay of Bengal branch of the south-west summer monsoon[74] lash Kolkata between June and September, supplying it with most of its annual rainfall of about 1,850 mm (73 in). The highest monthly rainfall total occurs in July and August. In these months often incessant rain for days brings live to a stall for the city dwellers. The city receives 2,528 hours of sunshine per year, with maximum sunlight exposure occurring in March.[75] Kolkata has been hit by several cyclones; these include systems occurring in 1737 and 1864 that killed thousands.[76][77]

Environmental issues

Pollution is a major concern in Kolkata. As of 2008, sulphur dioxide and nitrogen dioxide annual concentration were within the national ambient air quality standards of India, but respirable suspended particulate matter levels were high, and on an increasing trend for five consecutive years, causing smog and haze.[80][81] Severe air pollution in the city has caused a rise in pollution-related respiratory ailments, such as lung cancer.[82]

Economy

Kolkata is the main commercial and financial hub of East and North-East India[61] and home to the Calcutta Stock Exchange.[83][84] It is a major commercial and military port, and is the only city in eastern India, apart from Bhubaneswar to have an international airport. Once India's leading city, Kolkata experienced a steady economic decline in the decades following India's independence due to steep population increases and a rise in militant trade-unionism, which included frequent strikes that were backed by left-wing parties.[52] From the 1960s to the late 1990s, several factories were closed and businesses relocated.[52] The lack of capital and resources added to the depressed state of the city's economy and gave rise to an unwelcome sobriquet: the "dying city".[85] The city's fortunes improved after the Indian economy was liberalised in the 1990s and changes in economic policy were enacted by the West Bengal state government.[52]

Flexible production has been the norm in Kolkata, which has an informal sector that employs more than 40% of the labour force.[16] One unorganised group, roadside hawkers, generated business worth ₹ 8,772 crore (US$ 2 billion) in 2005.[86] As of 2001, around 0.81% of the city's workforce was employed in the primary sector (agriculture, forestry, mining, etc.); 15.49% worked in the secondary sector (industrial and manufacturing); and 83.69% worked in the tertiary sector (service industries).[61]:19 As of 2003, the majority of households in slums were engaged in occupations belonging to the informal sector; 36.5% were involved in servicing the urban middle class (as maids, drivers, etc.), and 22.2% were casual labourers.[87]:11 About 34% of the available labour force in Kolkata slums were unemployed.[87]:11 According to one estimate, almost a quarter of the population live on less than 27 rupees (equivalent to 45 US cents) per day.[88] As of 2010, Kolkata, with an estimated gross domestic product (GDP) by purchasing power parity of 150 billion dollars, ranked third among South Asian cities, after Mumbai and Delhi.[89] Kolkata's GDP in 2014 was Rs 1.84 trillion, according to a collaborative assessment by multiple universities and climate agencies.[90] As in many other Indian cities, information technology became a high-growth sector in Kolkata starting in the late 1990s; the city's IT sector grew at 70% per annum—a rate that was twice the national average.[52] The 2000s saw a surge of investments in the real estate, infrastructure, retail, and hospitality sectors; several large shopping malls and hotels were launched.[91][92][93][94][95] Companies such as ITC Limited, CESC Limited, Exide Industries, Emami, Eveready Industries India, Lux Industries, Rupa Company, Berger Paints, Birla Corporation and Britannia Industries are headquartered in the city. Philips India, PricewaterhouseCoopers India, Tata Global Beverages, Tata Steel have their registered office and zonal headquarters in Kolkata. Kolkata hosts the headquarters of three major public-sector banks: Allahabad Bank, UCO Bank, and the United Bank of India; and a private bank Bandhan Bank. Reserve Bank of India has its eastern zonal office in Kolkata, and India Government Mint, Kolkata is one of the four mints in India.

Panoramic view of the Down town Sector V one of the major IT hubs of Kolkata as seen from the lakes surrounding Bidhannagar. Major Buildings such as Technopolis, Godrej Waterside, TCS Lords, Eden and Wanderers Park, Gobsyn Crystal, South City Pinnacle, RDB Boulevard, West Bengal Electronics Industry Development Corporation (WEBEL) Bhawan can be seen.

Demographics

See also: Health care in Kolkata

A big building in cream colour with many columns and a portico

Calcutta Medical College, the second institution in Asia to teach modern medicine(after 'Ecole de Médicine de Pondichéry')

IPGMER and SSKM Hospital, Kolkata is the largest hospital in West Bengal and one of the oldest in Kolkata.

As of 2011, the health care system in Kolkata consists of 48 government hospitals, mostly under the Department of Health & Family Welfare, Government of West Bengal, and 366 private medical establishments;[177] these establishments provide the city with 27,687 hospital beds.[177] For every 10,000 people in the city, there are 61.7 hospital beds,[178] which is higher than the national average of 9 hospital beds per 10,000.[179] Ten medical and dental colleges are located in the Kolkata metropolitan area which act as tertiary referral hospitals in the state.[180][181] The Calcutta Medical College, founded in 1835, was the first institution in Asia to teach modern medicine.[182] However, These facilities are inadequate to meet the healthcare needs of the city.[183][184][185] More than 78% in Kolkata prefer the private medical sector over the public medical sector,[117]:109 due to the poor quality of care, the lack of a nearby facility, and excessive waiting times at government facilities.[117]:61

According to the Indian 2005 National Family Health Survey, only a small proportion of Kolkata households were covered under any health scheme or health insurance.[117]:41 The total fertility rate in Kolkata was 1.4, The lowest among the eight cities surveyed.[117]:45 In Kolkata, 77% of the married women used contraceptives, which was the highest among the cities surveyed, but use of modern contraceptive methods was the lowest (46%).[117]:47 The infant mortality rate in Kolkata was 41 per 1,000 live births, and the mortality rate for children under five was 49 per 1,000 live births.[117]:48

Among the surveyed cities, Kolkata stood second (5%) for children who had not had any vaccinations under the Universal Immunization Programme as of 2005.[117]:48 Kolkata ranked second with access to an anganwadi centre under the Integrated Child Development Services (ICDS) programme for 57% of the children between 0 and 71 months.[117]:51 The proportion of malnourished, anaemic and underweight children in Kolkata was less in comparison to other surveyed cities.[117]:54–55

About 18% of the men and 30% of the women in Kolkata are obese—the majority of them belonging to the non-poor strata of society.[117]:105 In 2005, Kolkata had the highest percentage (55%) among the surveyed cities of anaemic women, while 20% of the men in Kolkata were anaemic.[117]:56–57 Diseases like diabetes, asthma, goitre and other thyroid disorders were found in large numbers of people.[117]:57–59 Tropical diseases like malaria, dengue and chikungunya are prevalent in Kolkata, though their incidence is decreasing.[186][187] Kolkata is one of the districts in India with a high number of people with AIDS; it has been designated a district prone to high risk.[188][189]

As of 2014, because of higher air pollution, the life expectancy of a person born in the city is four years fewer than in the suburbs.[190]

Education

Kolkata's schools are run by the state government or private organisations, many of which are religious. Bengali and English are the primary languages of instruction; Urdu and Hindi are also used, particularly in central Kolkata.[191][192] Schools in Kolkata follow the "10+2+3" plan. After completing their secondary education, students typically enroll in schools that have a higher secondary facility and are affiliated with the West Bengal Council of Higher Secondary Education, the ICSE, or the CBSE.[191] They usually choose a focus on liberal arts, business, or science. Vocational programs are also available.[191] Some Kolkata schools, for example La Martiniere Calcutta, Calcutta Boys' School, St. James' School (Kolkata), St. Xavier's Collegiate School, and Loreto House, have been ranked amongst the best schools in the country.[193]

Indian Institute of Foreign Trade

As of 2010, the Kolkata urban agglomeration is home to 14 universities run by the state government.[194] The colleges are each affiliated with a university or institution based either in Kolkata or elsewhere in India. Aliah University which was founded in 1780 as Mohammedan College of Calcutta is the oldest post-secondary educational institution of the city.[195] The University of Calcutta, founded in 1857, is the first modern university in South Asia.[196] Presidency College, Kolkata (formerly Hindu College between 1817 and 1855), founded in 1855, was one of the oldest and most eminent colleges in India. It was affiliated with the University of Calcutta until 2010 when it was converted to Presidency University, Kolkata in 2010. Bengal Engineering and Science University (BESU) is the second oldest engineering institution of the country located in Howrah.[197] An Institute of National Importance, BESU was converted to India's first IIEST. Jadavpur University is known for its arts, science, and engineering faculties.[198] The Indian Institute of Management Calcutta, which was the first of the Indian Institutes of Management, was established in 1961 at Joka, a locality in the south-western suburbs. Kolkata also houses the prestigious Indian Institute of Foreign Trade, which was started here in the year 2006.[199] The West Bengal National University of Juridical Sciences is one of India's autonomous law schools,[200][201] and the Indian Statistical Institute is a public research institute and university. State owned Maulana Abul Kalam Azad University of Technology, West Bengal (MAKAUT, WB), formerly West Bengal University of Technology (WBUT) is the largest Technological University in terms of student enrollment and number of Institutions affiliated by it. Private institutions include the Ramakrishna Mission Vivekananda Educational and Research Institute and University of Engineering & Management (UEM).

Notable scholars who were born, worked or studied in Kolkata include physicists Satyendra Nath Bose, Meghnad Saha,[202] and Jagadish Chandra Bose;[203] chemist Prafulla Chandra Roy;[202] statisticians Prasanta Chandra Mahalanobis and Anil Kumar Gain;[202] physician Upendranath Brahmachari;[202] educator Ashutosh Mukherjee;[204] and Nobel laureates Rabindranath Tagore,[205] C. V. Raman,[203] and Amartya Sen.[206]

Kolkata houses many premier research institutes like Indian Association for the Cultivation of Science (IACS), Indian Institute of Chemical Biology (IICB), Indian Institute of Science Education and Research (IISER), Bose Institute, Saha Institute of Nuclear Physics (SINP), All India Institute of Hygiene and Public Health, Central Glass and Ceramic Research Institute (CGCRI), S.N. Bose National Centre for Basic Sciences (SNBNCBS), Indian Institute of Social Welfare and Business Management (IISWBM), National Institute of Pharmaceutical Education and Research, Kolkata, Variable Energy Cyclotron Centre (VECC) and Indian Centre for Space Physics. Nobel laureate Sir C. V. Raman did his groundbreaking work in Raman effect in IACS.

Culture

Kolkata is known for its literary, artistic, and revolutionary heritage; as the former capital of India, it was the birthplace of modern Indian literary and artistic thought.[207] Kolkata has been called the "City of Furious, Creative Energy"[208] as well as the "cultural [or literary] capital of India".[209][210] The presence of paras, which are neighbourhoods that possess a strong sense of community, is characteristic of the city.[211] Typically, each para has its own community club and, on occasion, a playing field.[211] Residents engage in addas, or leisurely chats, that often take the form of freestyle intellectual conversation.[212][213] The city has a tradition of political graffiti depicting everything from outrageous slander to witty banter and limericks, caricatures, and propaganda.[214][215]

Kolkata has many buildings adorned with Indo-Islamic and Indo-Saracenic architectural motifs. Several well-maintained major buildings from the colonial period have been declared "heritage structures";[216] others are in various stages of decay.[217][218] Established in 1814 as the nation's oldest museum, the Indian Museum houses large collections that showcase Indian natural history and Indian art.[219] Marble Palace is a classic example of a European mansion that was built in the city. The Victoria Memorial, a place of interest in Kolkata, has a museum documenting the city's history. The National Library of India is the leading public library in the country while Science City is the largest science centre in the Indian subcontinent.[220]

The popularity of commercial theatres in the city has declined since the 1980s.[221]:99[222] Group theatres of Kolkata, a cultural movement that started in the 1940s contrasting with the then-popular commercial theatres, are theatres that are not professional or commercial, and are centres of various experiments in theme, content, and production;[223] group theatres use the proscenium stage to highlight socially relevant messages.[221]:99[224] Chitpur locality of the city houses multiple production companies of jatra, a tradition of folk drama popular in rural Bengal.[225][226] Kolkata is the home of the Bengali cinema industry, dubbed "Tollywood" for Tollygunj, where most of the state's film studios are located.[227] Its long tradition of art films includes globally acclaimed film directors such as Academy Award-winning director Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Tapan Sinha, and contemporary directors such as Aparna Sen, Buddhadeb Dasgupta, Goutam Ghose and Rituparno Ghosh.[228]

During the 19th and 20th centuries, Bengali literature was modernised through the works of authors such as Ishwar Chandra Vidyasagar, Bankim Chandra Chattopadhyay, Michael Madhusudan Dutt, Rabindranath Tagore, Kazi Nazrul Islam, and Sarat Chandra Chattopadhyay.[229] Coupled with social reforms led by Ram Mohan Roy, Swami Vivekananda, and others, this constituted a major part of the Bengal Renaissance.[230] The middle and latter parts of the 20th century witnessed the arrival of post-modernism, as well as literary movements such as those espoused by the Kallol movement, hungryalists and the little magazines.[231] Large majority of publishers of the city is concentrated in and around College Street, "... a half-mile of bookshops and bookstalls spilling over onto the pavement", selling new and used books.[232]

Kalighat painting originated in 19th century Kolkata as a local style that reflected a variety of themes including mythology and quotidian life.[233] The Government College of Art and Craft, founded in 1864, has been the cradle as well as workplace of eminent artists including Abanindranath Tagore, Jamini Roy, and Nandalal Bose.[234] The art college was the birthplace of the Bengal school of art that arose as an avant garde and nationalist movement reacting against the prevalent academic art styles in the early 20th century.[235][236] The Academy of Fine Arts and other art galleries hold regular art exhibitions. The city is recognised for its appreciation of Rabindra sangeet (songs written by Rabindranath Tagore) and Indian classical music, with important concerts and recitals, such as Dover Lane Music Conference, being held throughout the year; Bengali popular music, including baul folk ballads, kirtans, and Gajan festival music; and modern music, including Bengali-language adhunik songs.[237][238] Since the early 1990s, new genres have emerged, including one comprising alternative folk–rock Bengali bands.[237] Another new style, jibonmukhi gaan ("songs about life"), is based on realism.[221]:105 Key elements of Kolkata's cuisine include rice and a fish curry known as machher jhol,[239] which can be accompanied by desserts such as roshogolla, sandesh, and a sweet yoghurt known as mishti dohi. Bengal's large repertoire of seafood dishes includes various preparations of ilish, a fish that is a favourite among Calcuttans. Street foods such as beguni (fried battered eggplant slices), kati roll (flatbread roll with vegetable or chicken, mutton, or egg stuffing), phuchka (a deep-fried crêpe with tamarind sauce) and Indian Chinese cuisine from Chinatown are popular.[240][241][242][243]

Though Bengali women traditionally wear the sari, the shalwar kameez and Western attire is gaining acceptance among younger women.[244] Western-style dress has greater acceptance among men, although the traditional dhoti and kurta are seen during festivals. Durga Puja, held in September–October, is Kolkata's most important and largest festival; it is an occasion for glamorous celebrations and artistic decorations.[245][246] The Bengali New Year, known as Poila Boishak, as well as the harvest festival of Poush Parbon are among the city's other festivals; also celebrated are Kali Puja, Diwali, Holi, Jagaddhatri Puja, Saraswati Puja, Rathayatra, Janmashtami, Maha Shivratri, Vishwakarma Puja, Lakshmi Puja, Ganesh Chathurthi, Makar Sankranti, Gajan, Kalpataru Day, Bhai Phonta, Maghotsab, Eid, Muharram, Christmas, Buddha Purnima and Mahavir Jayanti. Cultural events include the Rabindra Jayanti, Independence Day(15 August), Republic Day(26 January), Kolkata Book Fair, the Dover Lane Music Festival, the Kolkata Film Festival, Nandikar's National Theatre Festival, Statesman Vintage & Classic Car Rally and Gandhi Jayanti.

Media

See also: Kolkata in the media and List of Bengali-language television channels

A five storied building in cream colour with multiple columns in front

Akashvani Bhawan, the head office of state-owned All India Radio, Kolkata

The first newspaper in India, the Bengal Gazette started publishing from the city in 1780.[247] Among Kolkata's widely circulated Bengali-language newspapers are Anandabazar Patrika, Bartaman, Sangbad Pratidin, Aajkaal, Dainik Statesman and Ganashakti.[248] The Statesman and The Telegraph are two major English-language newspapers that are produced and published from Kolkata. Other popular English-language newspapers published and sold in Kolkata include The Times of India, Hindustan Times, The Hindu, The Indian Express, and the Asian Age.[248] As the largest trading centre in East India, Kolkata has several high-circulation financial dailies, including The Economic Times, The Financial Express, Business Line, and Business Standard.[248][249] Vernacular newspapers, such as those in the Hindi, Urdu, Gujarati, Odia, Punjabi, and Chinese languages, are read by minorities.[248][103] Major periodicals based in Kolkata include Desh, Sananda, Saptahik Bartaman, Unish-Kuri, Anandalok, and Anandamela.[248] Historically, Kolkata has been the centre of the Bengali little magazine movement.[250][251]

All India Radio, the national state-owned radio broadcaster, airs several AM radio stations in the city.[252] Kolkata has 12 local radio stations broadcasting on FM, including two from AIR.[253] India's state-owned television broadcaster, Doordarshan, provides two free-to-air terrestrial channels,[254] while a mix of Bengali, Hindi, English, and other regional channels are accessible via cable subscription, direct-broadcast satellite services, or internet-based television.[255][256][257] Bengali-language 24-hour television news channels include ABP Ananda, Tara Newz, Kolkata TV, 24 Ghanta, News Time and Channel 10.[258]

Sports

See also: Football in Kolkata, Kolkata Marathon, and Kolkata derby

Salt Lake Stadium during Indian Super League opening ceremony

The most popular sports in Kolkata are football and cricket. Unlike most parts of India, the residents show significant passion for football.[259] The city is home to top national football clubs such as Mohun Bagan A.C., East Bengal F.C., Prayag United S.C., and the Mohammedan Sporting Club.[260][261] Calcutta Football League, which was started in 1898, is the oldest football league in Asia.[262] Mohun Bagan A.C., one of the oldest football clubs in Asia, is the only organisation to be dubbed a "National Club of India".[263][264] Football matches between Mohun Bagan and East Bengal, dubbed as the Kolkata derby, witness large audience attendance and rivalry between patrons.[265]

A Twenty20 cricket match between Kolkata Knight Riders and Pune Warriors during Indian Premier League at the Eden Gardens

As in the rest of India, cricket is popular in Kolkata and is played on grounds and in streets throughout the city.[266][267] Kolkata has the Indian Premier League franchise Kolkata Knight Riders; the Cricket Association of Bengal, which regulates cricket in West Bengal, is also based in the city. Kolkata also has an Indian Super League franchise known as Atlético de Kolkata. Tournaments, especially those involving cricket, football, badminton, and carrom, are regularly organised on an inter-locality or inter-club basis.[211] The Maidan, a vast field that serves as the city's largest park, hosts several minor football and cricket clubs and coaching institutes.[268]

Eden Gardens, which has a capacity of 68,000 as of 2017,[269] hosted the final match of the 1987 Cricket World Cup. It is home to the Bengal cricket team and the Kolkata Knight Riders.

The multi-use Salt Lake Stadium, also known as Yuva Bharati Krirangan, is India's largest stadium by seating capacity. Most matches of the 2017 FIFA U-17 World Cup were played in the Salt Lake Stadium including both Semi-Final matches and the Final match. Kolkata also accounted for 45% of total attendance in 2017 FIFA U-17 World Cup with an average of 55,345 spectators.[270] The Calcutta Cricket and Football Club is the second-oldest cricket club in the world.[271][272]

Kolkata's Netaji Indoor Stadium served as host of the 1981 Asian Basketball Championship, where India's national basketball team finished 5th, ahead of teams that belong to Asia's basketball elite, such as Iran. The city has three 18-hole golf courses. The oldest is at the Royal Calcutta Golf Club, the first golf club built outside the United Kingdom.[273][274] The other two are located at the Tollygunge Club and at Fort William. The Royal Calcutta Turf Club hosts horse racing and polo matches.[275] The Calcutta Polo Club is considered the oldest extant polo club in the world.[276][277][278] The Calcutta Racket Club is a squash and racquet club in Kolkata. It was founded in 1793, making it one of the oldest rackets clubs in the world, and the first in the Indian subcontinent.[279][280] The Calcutta South Club is a venue for national and international tennis tournaments; it held the first grass-court national championship in 1946.[281][282] In the period 2005–2007, Sunfeast Open, a tier-III tournament on the Women's Tennis Association circuit, was held in the Netaji Indoor Stadium; it has since been discontinued.[283][284]

The Calcutta Rowing Club hosts rowing heats and training events. Kolkata, considered the leading centre of rugby union in India, gives its name to the oldest international tournament in rugby union, the Calcutta Cup.[285][286][287] The Automobile Association of Eastern India, established in 1904,[288][289] and the Bengal Motor Sports Club are involved in promoting motor sports and car rallies in Kolkata and West Bengal.[290][291] The Beighton Cup, an event organised by the Bengal Hockey Association and first played in 1895, is India's oldest field hockey tournament; it is usually held on the Mohun Bagan Ground of the Maidan.[292][293] Athletes from Kolkata include Sourav Ganguly and Pankaj Roy, who are former captains of the Indian national cricket team; Olympic tennis bronze medallist Leander Paes, golfer Arjun Atwal, and former footballers Sailen Manna, Chuni Goswami, P. K. Banerjee, and Subrata Bhattacharya.

Kolkata /koʊlˈkɑːtə/ ([kolkata] (About this soundlisten), also known as Calcutta /kælˈkʌtə/, the official name until 2001) is the capital of the Indian state of West Bengal. Located on the east bank of the Hooghly River approximately 75 kilometres (47 mi) west of the border with Bangladesh, it is the principal commercial, cultural, and educational centre of East India, while the Port of Kolkata is India's oldest operating port and its sole major riverine port. The city is widely regarded as the "cultural capital" of India, and is also nicknamed the "City of Joy".[1][2][3].According to the 2011 Indian census, it is the seventh most populous city. the city had a population of 4.5 million, while the population of the city and its suburbs was 14.1 million, making it the third-most populous metropolitan area in India. Recent estimates of Kolkata Metropolitan Area's economy have ranged from $60 to $150 billion (GDP adjusted for purchasing power parity) making it third most-productive metropolitan area in India, after Mumbai and Delhi.[11][12][13]

In the late 17th century, the three villages that predated Calcutta were ruled by the Nawab of Bengal under Mughal suzerainty. After the Nawab granted the East India Company a trading licence in 1690,[15] the area was developed by the Company into an increasingly fortified trading post. Nawab Siraj ud-Daulah occupied Calcutta in 1756, and the East India Company retook it the following year. In 1793 the East India company was strong enough to abolish Nizamat (local rule), and assumed full sovereignty of the region. Under the company rule, and later under the British Raj, Calcutta served as the capital of British-held territories in India until 1911, when its perceived geographical disadvantages, combined with growing nationalism in Bengal, led to a shift of the capital to New Delhi. Calcutta was the centre for the Indian independence

A butterfly with wings of happiness by Hari Menon

14 28

Triya sarkar..:) for me she is happiness...looking at her pics makes me happy..:)

Triya is my friends Manas Sakar's and Barnalee Sarkar's daughter , she got a handsome bro ishan

her eyes and expressions saw beautiful , always energetic, i never get tired clicking her pics..:)

Am sure she ll do something in future..:)

Nowdays i dont use selective colouring or other editing for professional work..only for friends and personal work...:)

And i shoot family portfolios nowdays..:)

City Landmark – Chiki Sarkar’s New Publishing House, Near Kamal Nursery by Mayank Austen Soofi

A star is born. Click here to read at The Delhi Walla.

SEE ALLAH BELOW THE EYE ON BABA JANI SARKAR's face by Sami

1 4

Baba jani sarkar is an walle of Allah. His whole life is dedicated for his worship.

At the moment he is with a great sign by ALLAH

Wazoo Khana, Nakhoda Mosque/Masjid, Zakaria Street, Kolkata, West Bengal - India by Humayunn Niaz Ahmed Peerzaada

10 18

Wazoo Khana comprises of a pond where worshippers wash their hands and feet before offering prayers in mosque.

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Yesterday I saw my friend and brother Sayantan Sarkar's pic of Eid Prayers outside Nakhoda Masjid .... that tempted me to process one of the Mosque pic which for some reason did not come in this album of 'Amar Shonar Bangla' .... did an HDR after a very very long time ..... lots of dodge and burn to enhance each area of the wazoo khana ... this pic has nothing to do with my ongoing 365 project .. i just felt i should process and upload it

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Nakhoda Mosque is the largest mosque in Kolkata. It can capacitate about 10,000 persons. Located in Zakaria Street, near the junction of Chitpore Road and Mahatma Gandhi Road, its foundation was laid by Abdar Rahim Osman, a resident of Cutch, in the year 1926. Nakhoda mosque is constructed on the lines of Akbar's tomb in Sikandra.

Its architecture represents the Indo-Saracenic designing. This magnificent mosque contains a spacious prayer hall, a dome and two minarets.

Shot with Nikon D90 and Tokina 10-17mm fisheye.

City Landmark – Chiki Sarkar’s New Publishing House, Near Kamal Nursery by Mayank Austen Soofi

A star is born. Click here to read at The Delhi Walla.

City Landmark – Chiki Sarkar’s New Publishing House, Near Kamal Nursery by Mayank Austen Soofi

A star is born. Click here to read at The Delhi Walla.

Kodla moth, Bagerhat...The flavour of temple architecture by Naheed Mehedi Rehman

7 30

Temple architecture secures one of the fascinating sectors of the architectural heritage of Bangladesh. The temples, some still announce their existence with strength and boldness while others that barely can reveal their past grandeur and glory mostly belong to the medieval or late medieval period. Study of temple architecture reveals those early temples in Bengal were mainly of two types, Bhadra or Pida and Sikhara or Rekha. Later in the medieval period, a variety of combinations and elaborations of these basic types were developed although in Bengal the Bhadra or Pida were not so popular. However, the Bengali style comprising of the curvilinear profile from the traditional rural huts were a very popular type of temples having names like Ek-bangla, Jor bangla, Char-chala, Aat-chala baro-chala and so on. There were also the ratna temples consisting of the series of ornamental towers or ratnas. According to the number of ratnas these were named as Pancha-ratna (five towers), nava-ratna (nine towers) etc. The Sikhara or Rekha type is also known as the Nagara style in Indian aesthetics.

Kodla Math is one of the remarkable examples of this Sikhara type in Bagerhat while there are two others known popularly as the Mathurapur Deul in Faridpur and Sarkar's Math in Mahilara in Bakerganj and all of them belong to the 17th century. Kodla math have other name and that is Ayudha math as it is situated in the village Ayudha, some10 km north from Bagerhat world heritage mosque. This is an ancient old Hindu temple with full of terracotta designee. Shape and designee of this temple is really wonderful as it is not like other common type of Hindu temple in the subcontinent region.

The façade treatment and decoration of the Kodla Math is one of the main attractions of the temple. Its architectural style relates to the Shikhara type with its high structure like a pyramid. The ornamented façade reveals the rekha type and is composed of horizontal parallel lines that are placed from the bottom to the top of the math at a distance of around 14 inches.

On the other hand from each corner of the structure, four perpendicular lines cross the horizontal lines and create rectangular panels all over the surface. The scriptures that were written on the panels have almost been destroyed. From what is left, it could be determined that a Brahmin had constructed the Math, and erected it to get the kind grace of Brahma, the deity. Like some of the fortunate heritage structures, the Kodla Math still stands today with its decaying beauty and splendour, but if not taken the proper care, it would perish with time leaving behind the trail of our forgotten pasts.

Story : Zakia Rahman, Architect and Naheed Mehedi Rehman, Magistrate, District administration,Bagerhat

Photography: Naheed Mehedi Rehman

City Landmark – Chiki Sarkar’s New Publishing House, Near Kamal Nursery by Mayank Austen Soofi

A star is born. Click here to read at The Delhi Walla.

Netherfield Ball – Publisher Chiki Sarkar's Secret Remained a Secret at Journalist Madhu Jain's Anniversray Bash by Mayank Austen Soofi

3

The party secrets. Click here to read at The Delhi Walla.

City Landmark – Chiki Sarkar’s New Publishing House, Near Kamal Nursery by Mayank Austen Soofi

A star is born. Click here to read at The Delhi Walla.

India - West Bengal - Kolkata - Howrah Bridge by Manfred Sommer

5

Howrah Bridge is a cantilever bridge with a suspended span over the Hooghly River in West Bengal, India. Commissioned in 1943, the bridge was originally named the New Howrah Bridge, because it replaced a pontoon bridge at the same location linking the two cities of Howrah and Kolkata (Calcutta). On 14 June 1965 it was renamed Rabindra Setu after the great Bengali poet Rabindranath Tagore, who was the first Indian and Asian Nobel laureate. It is still popularly known as the Howrah Bridge.

The bridge is one of two on the Hooghly River and is a famous symbol of Kolkata and West Bengal. The other bridges are the Vidyasagar Setu (popularly called the Second Hooghly Bridge), the Vivekananda Setu, and the newly built Nivedita Setu. It weathers the storms of the Bay of Bengal region, carrying a daily traffic of approximately 100,000 vehicles and possibly more than 150,000 pedestrians, easily making it the busiest cantilever bridge in the world. The third-longest cantilever bridge at the time of its construction, the Howrah Bridge is the sixth-longest bridge of its type in the world.

HISTORY

1862 PROPOSAL BY TURNBULL

In 1862, the Government of Bengal asked George Turnbull, Chief Engineer of the East India Railway Company to study the feasibility of bridging the Hooghly River — he had recently established the company's rail terminus in Howrah. He reported on 29 March with large-scale drawings and estimates that:

- The foundations for a bridge at Calcutta would be at a considerable depth and cost because of the depth of the mud there.

- The impediment to shipping would be considerable.

- A good place for the bridge was at Pulta Ghat "about a dozen miles north of Calcutta" where a "bed of stiff clay - A suspended-girder bridge of five spans of 400 feet and two spans of 200 feet would be ideal.

The bridge was not built.

PONTOON BRIDGE

In view of the increasing traffic across the Hooghly river, a committee was appointed in 1855-56 to review alternatives for constructing a bridge across it. The plan was shelved in 1859-60, to be revived in 1868, when it was decided that a bridge should be constructed and a newly appointed trust vested to manage it. The Calcutta Port Trust was founded in 1870, and the Legislative department of the then Government of Bengal passed the Howrah Bridge Act in the year 1871 under the Bengal Act IX of 1871, empowering the Lieutenant-Governor to have the bridge constructed with Government capital under the aegis of the Port Commissioners. Eventually a contract was signed with Sir Bradford Leslie to construct a pontoon bridge. Different parts were constructed in England and shipped to Calcutta, where they were assembled. The assembling period was fraught with problems. The bridge was considerably damaged by the great cyclone on 20 March 1874. A steamer named Egeria broke from her moorings and collided head-on with the bridge, sinking three pontoons and damaging nearly 200 feet of the bridge. The bridge was completed in 1874, at a total cost of ₹2.2 million, and opened to traffic on 17 October of that year. The bridge was then 1528 ft. long and 62 ft. wide, with 7-foot wide pavements on either side. Initially the bridge was periodically unfastened to allow steamers and other marine vehicles to pass through. Before 1906, the bridge used to be undone for the passage of vessels during daytime only. Since June of that year it started opening at night for all vessels except ocean steamers, which were required to pass through during daytime. From 19 August 1879, the bridge was illuminated by electric lamp-posts, powered by the dynamo at the Mullick Ghat Pumping Station. As the bridge could not handle the rapidly increasing load, the Port Commissioners started planning in 1905 for a new improved bridge.

PLANS FOR A NEW BRIDGE

In 1906 the Port Commission appointed a committee headed by R.S. Highet, Chief Engineer, East Indian Railway and W.B. MacCabe, Chief Engineer, Calcutta Corporation. They submitted a report stating that Bullock carts formed the eight-thirteenths of the vehicular traffic (as observed on 27 August 1906, the heaviest day's traffic observed in the port of Commissioners 16 days' Census of the vehicular traffic across the existing bridge). The roadway on the existing bridge is 48 feet wide except at the shore spans where it is only 43 feet in roadways, each 21 feet 6 inches wide. The roadway on the new bridge would be wide enough to take at least two lines of vehicular traffic and one line of trams in each direction and two roadways each 30 feet wide, giving a total width of 60 feet of road way which are quite sufficient for this purpose . . . . . The traffic across the existing floating bridge Calcutta & Howrah is very heavy and it is obvious if the new bridge is to be on the same site as the existing bridge, then unless a temporary bridge is provided, there will be serious interruptions to the traffic while existing bridge is being moved to one side to allow the new bridge to be erected on the same site as the present bridge.

The committee considered six options:

- Large ferry steamers capable of carrying vehicular load (set up cost ₹900,000, annual cost ₹437,000)

- A transporters bridge (set up cost ₹2 million)

- A tunnel (set up cost ₹338.2 million, annual maintenance cost ₹1779,000)

- A bridge on piers (set up cost ₹22.5 million)

- A floating bridge (set up cost ₹2140,000, annual maintenance cost ₹200,000)

- An arched bridge

The committee eventually decided on a floating bridge. It extended tenders to 23 firms for its design and construction. Prize money of £ 3,000 (₹45,000, at the then exchange rate) was declared for the firm whose design would be accepted.

PLANNING AND ESTIMATION

The initial construction process of the bridge was stalled due to the World War I, although the bridge was partially renewed in 1917 and 1927. In 1921 a committee of engineers named the 'Mukherjee Committee' was formed, headed by Sir R.N. Mukherjee, Sir Clement Hindley, Chairman of Calcutta Port Trust and J. McGlashan, Chief Engineer. They referred the matter to Sir Basil Mott, who proposed a single span arch bridge.

In 1922 the New Howrah Bridge Commission was set up, to which the Mukherjee Committee submitted its report. In 1926 the New Howrah Bridge Act passed. In 1930 the Goode Committee was formed, comprising S.W. Goode as President, S.N. Mallick, and W.H. Thompson, to investigate and report on the advisability of constructing a pier bridge between Calcutta and Howrah. Based on their recommendation, M/s. Rendel, Palmer and Tritton were asked to consider the construction of a suspension bridge of a particular design prepared by their chief draftsman Mr. Walton. On basis of the report, a global tender was floated. The lowest bid came from a German company, but due to increasing political tensions between Germany and Great Britain in 1935, it was not given the contract. The Braithwaite Burn and Jessop Construction Company Limited was awarded the construction contract that year. The New Howrah Bridge Act was amended in 1935 to reflect this, and construction of the bridge started the next year.

CONSTRUCTION

The bridge does not have nuts and bolts, but was formed by riveting the whole structure. It consumed 26,500 tons of steel, out of which 23,000 tons of high-tensile alloy steel, known as Tiscrom, were supplied by Tata Steel. The main tower was constructed with single monolith caissons of dimensions 55.31 x 24.8 m with 21 shafts, each 6.25 metre square. The Chief Engineer of the Port Trust, Mr. J. McGlashan, wanted to replace the pontoon bridge, with a permanent structure, as the present bridge interfered with North/South river traffic. Work could not be started as World War I (1914-1918) broke out. Then in 1926 a commission under the Chairmanship of Sir R. N. Mukherjee recommended a suspension bridge of a particular type to be built across the River Hoogly. The bridge was designed by one Mr. Walton of M/s Rendel, Palmer & Triton. The order for construction and erection was placed on M/s.Cleveland Bridge & Engineering Company in 1939. Again World War II (1939-1945 ) intervened. All the steel that was to come from England were diverted for war effort in Europe. Out of 26,000 tons of steel, that was required for the bridge, only 3000 tons were supplied from England. In spite of the Japanese threat the then (British) Government of India pressed on with the construction. Tata Steel were asked to supply the remaining 23,000 tons of high tension steel. The Tatas developed the quality of steel required for the bridge and called it Tiscom. The entire 23,000 tons was supplied in time. The fabrication and erection work was awarded to a local engineering firm of Howrah - The Braithwaite Burn & Jessop Construction Company. The two anchorage caissons were each 16.4 m by 8.2 m, with two wells 4.9 m square. The caissons were so designed that the working chambers within the shafts could be temporarily enclosed by steel diaphragms to allow work under compressed air if required. The caisson at Kolkata side was set at 31.41 m and that at Howrah side at 26.53 m below ground level.

One night, during the process of grabbing out the muck to enable the caisson to move, the ground below it yielded, and the entire mass plunged two feet, shaking the ground. The impact of this was so intense that the seismograph at Kidderpore registered it as an earthquake and a Hindu temple on the shore was destroyed, although it was subsequently rebuilt. While muck was being cleared, numerous varieties of objects were brought up, including anchors, grappling irons, cannons, cannonballs, brass vessels, and coins dating back to the East India Company. The job of sinking the caissons was carried out round-the-clock at a rate of a foot or more per day. The caissons were sunk through soft river deposits to a stiff yellow clay 26.5 m below ground level. The accuracy of sinking the huge caissons was exceptionally precise, within 50–75 mm of the true position. After penetrating 2.1 m into clay, all shafts were plugged with concrete after individual dewatering, with some 5 m of backfilling in adjacent shafts. The main piers on the Howrah side were sunk by open wheel dredging, while those on the Kolkata side required compressed air to counter running sand. The air pressure maintained was about 40 lbs per square inch (2.8 bar), which required about 500 workers to be employed. Whenever excessively soft soil was encountered, the shafts symmetrical to the caisson axes were left unexcavated to allow strict control. In very stiff clays, a large number of the internal wells were completely undercut, allowing the whole weight of the caisson to be carried by the outside skin friction and the bearing under the external wall. Skin friction on the outside of the monolith walls was estimated at 29 kN/m2 while loads on the cutting edge in clay overlying the founding stratum reached 100 tonnes/m. The work on the foundation was completed on November 1938.

By the end of 1940, the erection of the cantilevered arms was commenced and was completed in mid-summer of 1941. The two halves of the suspended span, each 86 m long and weighing 2,000 tons, were built in December 1941. The bridge was erected by commencing at the two anchor spans and advancing towards the center, with the use of creeper cranes moving along the upper chord. 16 hydraulic jacks, each of which had an 800-ton capacity, were pressed into service to join the two halves of the suspended span.

The entire project cost ₹25 million (£2,463,887). The project was a pioneer in bridge construction, particularly in India, but the government did not have a formal opening of the bridge due to fears of attacks by Japanese planes fighting the Allied Powers. Japan had attacked the United States at Pearl Harbor on December 7, 1941. The first vehicle to use the bridge was a solitary tram.

DESCRIPTION

SPECIFICATIONS

When commissioned in 1943, Howrah was the 3rd-longest cantilever bridge in the world, behind Pont de Québec (549 metres) in Canada and Forth Bridge (521 metres) in Scotland. It has since been surpassed by three bridges, making it the sixth-longest cantilever bridge in the world in 2013. It is a Suspension type Balanced Cantilever bridge, with a central span of 460 m between centers of main towers and a suspended span of 172 m. The main towers are 85 m high above the monoliths and 23 m apart at the top. The anchor arms are 99 m each, while the cantilever arms are 143 m each. The bridge deck hangs from panel points in the lower chord of the main trusses with 39 pairs of hangers. The roadways beyond the towers are supported from ground, leaving the anchor arms free from deck load. The deck system includes cross girders suspended between the pairs of hangers by a pinned connection. Six rows of longitudinal stringer girders are arranged between cross girders. Floor beams are supported transversally on top of the stringers, while themselves supporting a continuous pressed steel troughing system surfaced with concrete.

The longitudinal expansion and lateral sway movement of the deck are taken care of by expansion and articulation joints. There are two main expansion joints, one at each interface between the suspended span and the cantilever arms, and there are others at the towers and at the interface of the steel and concrete structures at both approach. There are total 8 articulation joints, 3 at each of the cantilever arms and 1 each in the suspended portion. These joints divide the bridge into segments with vertical pin connection between them to facilitate rotational movements of the deck. The bridge deck has longitudinal ruling gradient of 1 in 40 from either end, joined by a vertical curve of radius 1,200 m. The cross gradient of deck is 1 in 48 between kerbs.

TRAFFIC

The bridge serves as the gateway to Kolkata, connecting it to the Howrah Station, which is one of the four intercity train stations serving Howrah and Kolkata. As such, it carries the near entirety of the traffic to and from the station, taking its average daily traffic close to nearly 150,000 pedestrians and 100,000 vehicles. In 1946 a census was taken to take a count of the daily traffic, it amounted to 27,400 vehicles, 121,100 pedestrians and 2,997 cattle. The bulk of the vehicular traffic comes from buses and cars. Prior to 1993 the bridge used to carry trams also. Trams departed from the terminus at Howrah station towards Rajabazar, Sealdah, High Court, Dalhousie Square, Park Circus and Shyambazar. From 1993 the tram services on the bridge were discontinued due to increasing load on the bridge. However the bridge still continues to carry much more than the expected load. A 2007 report revealed that nearly 90,000 vehicles were plying on the bridge daily (15,000 of which were goods-carrying), though its load-bearing capacity is only 60,000. One of the main reasons of overloading was that although vehicles carrying up to 15 tonnes are allowed on the structure, vehicles with 12-18 wheels and carrying load up to 25 tonnes often plied on it. 31 May 2007 onwards, overloaded trucks were banned from plying on the bridge, and were redirected to the Vidyasagar Setu instead. The road is flanked by footpaths of width 15 feet, and they swarm with pedestrians.

MAINTENANCE

The Kolkata Port Trust (KoPT) is vested with the maintenance of the bridge. The bridge has been subject to damage from vehicles due to rash driving, and corrosion due to atmospheric conditions and biological wastes. On October 2008, 6 high-tech surveillance cameras were placed to monitor the entire 705 metres long and 30 metres wide structure from the control room. Two of the cameras were placed under the floor of the bridge to track the movement of barges, steamers and boats on the river, while the other four were fixed to the first layer of beams — one at each end and two in the middle — to monitor vehicle movements. This was in response to substantial damage caused to the bridge from collisions with vehicles, so that compensation could be claimed from the miscreants.

Corrosion has been caused by bird droppings and human spitting. An investigation in 2003 revealed that as a result of prolonged chemical reaction caused by continuous collection of bird excreta, several joints and parts of the bridge were damaged. As an immediate measure, the Kolkata Port Trust engaged contractors to regularly clean the bird droppings, at an annual expense of ₹500000 (US$7,900). In 2004, KoPT spent ₹6.5 million (US$100,000) to paint the entirety of 2.2 million square metres (24 million square feet) of the bridge. Two coats of aluminium paint, with a primer of zinc chromate before that, was applied on the bridge, requiring a total of 26,500 litres of paint.

The bridge is also considerably damaged by human spitting. A technical inspection by Port Trust officials in 2011 revealed that spitting had reduced the thickness of the steel hoods protecting the pillars from six to less than three millimeters since 2007. The hangers need those hoods at the base to prevent water seeping into the junction of the cross-girders and hangers, and damage to the hoods can jeopardize the safety of the bridge. KoPT announced that it will spend ₹2 million (US$32,000) on covering the base of the steel pillars with fibreglass casing to prevent spit from corroding them.

On 24 June 2005, a private cargo vessel M V Mani, belonging to the Ganges Water Transport Pvt. Ltd, while trying to pass under the bridge during high tide, had its funnel stuck underneath for three hours, causing substantial damage worth about ₹15 million to the stringer and longitudinal girder of the bridge. Some of the 40 cross-girders were also broken. Two of four trolley guides, bolted and welded with the girders, were extensively damaged. Nearly 350 metres of 700 metres of the track were twisted beyond repair. The damage was so severe that KoPT requested help from Rendall-Palmer & Tritton Limited, the original consultant on the bridge from UK. KoPT also contacted SAIL to provide 'matching steel' used during its construction in 1943, for the repairs. For the repair costing around ₹5 million (US$79,000), about 8 tonnes of steel was used. The repairs were completed in early 2006.

CULTURAL SIGNIFICANCE

The bridge has been shown in numerous films, such as Bimal Roy's 1953 film Do Bigha Zamin, Ritwik Ghatak's Bari Theke Paliye in 1958, Satyajit Ray's Parash Pathar in the same year, Mrinal Sen's Neel Akasher Neechey in 1959, Shakti Samanta's Howrah Bridge (1958), that featured the famous song Mera Naam Chin Chin Chu and China Town (1962) and Amar Prem (1971), Amar Jeet's 1965 Teen Devian in 1965, Mrinal Sen's 1972 National Award winning Bengali film Calcutta 71 and Sen's Calcutta Trilogy its sequel in 1973, Padatik, Richard Attenborough's 1982 Academy Award winning film Gandhi, Goutam Ghose's 1984 Hindi film Paar, Raj Kapoor's Ram Teri Ganga Maili in 1985, Nicolas Klotz's The Bengali Night in 1988, Roland Joffé's English language film City of Joy in 1992, Florian Gallenberger's Bengali film Shadows of Time in 2004, Mani Ratnam's Bollywood film Yuva in 2004, Pradeep Sarkar's 2005 Bollywood film Parineeta, Subhrajit Mitra's 2008 Bengali film Mon Amour: Shesher Kobita Revisited, Mira Nair's 2006 film The Namesake, Blessy's 2008 Malayalam Film Calcutta News, Surya Sivakumar's 2009 Tamil film Aadhavan, Imtiaz Ali's 2009 Hindi film Love Aaj Kal, Abhik Mukhopadhyay's 2010 Bengali film Ekti Tarar Khonje, Sujoy Ghosh's 2012 Bollywood film Kahaani, Anurag Basu's 2012 Hindi film Barfi!, Riingo Banerjee's 2012 Bengali film Na Hannyate, Rana Basu's 2013 Bengali film Namte Namte, and Ali Abbas Zafar's 2014 Hindi film Gunday and the 2015 YRF release from director Dibakar Banerjee's Detective Byomkesh Bakshy!also features some scenes on this iconic bridge.

WIKIPEDIA

City Landmark – Chiki Sarkar’s New Publishing House, Near Kamal Nursery by Mayank Austen Soofi

A star is born. Click here to read at The Delhi Walla.

City Landmark – Chiki Sarkar’s New Publishing House, Near Kamal Nursery by Mayank Austen Soofi

A star is born. Click here to read at The Delhi Walla.

City Landmark – Chiki Sarkar’s New Publishing House, Near Kamal Nursery by Mayank Austen Soofi

A star is born. Click here to read at The Delhi Walla.

India - West Bengal - Kolkata - Hoogly River and Howrah Bridge - 1bb by Manfred Sommer

1

The Howrah Bridge is a balanced cantilever bridge over the Hooghly River in West Bengal, India. Commissioned in 1943, the bridge was originally named the New Howrah Bridge, because it replaced a pontoon bridge at the same location linking the cities of Howrah and Kolkata (Calcutta). On 14 June 1965, it was renamed Rabindra Setu after the great Bengali poet Rabindranath Tagore, who was the first Indian and Asian Nobel laureate. It is still popularly known as the Howrah Bridge.

The bridge is one of four on the Hooghly River and is a famous symbol of Kolkata and West Bengal. The other bridges are the Vidyasagar Setu (popularly called the Second Hooghly Bridge), the Vivekananda Setu and the relatively new Nivedita Setu. It carries a daily traffic of approximately 100,000 vehicles and possibly more than 150,000 pedestrians, easily making it the busiest cantilever bridge in the world. The third-longest cantilever bridge at the time of its construction, the Howrah Bridge is currently the sixth-longest bridge of its type in the world.

HISTORY

1862 PTOPOSAL BY TURNBULL

In 1862, the Government of Bengal asked George Turnbull, chief engineer of the East Indian Railway Company to study the feasibility of bridging the Hooghly River. He had recently established the company's rail terminus in Howrah. He reported on 19 March, with large-scale drawings and estimates, that:

The foundations for a bridge at Calcutta would be at a considerable depth and cost because of the depth of the mud there.

The impediment to shipping would be considerable.

A good place for the bridge was at Pulta Ghat "about a dozen miles north of Calcutta" where a "bed of stiff clay existed at no great depth under the river bed".

A suspended-girder bridge of five spans of 122 m and two spans 61 m would be ideal.

PONTOON BRIDGE

In view of the increasing traffic across the Hooghly river, a committee was appointed in 1855–56 to review alternatives for constructing a bridge across it. The plan was shelved in 1859–60, to be revived in 1868, when it was decided that a bridge should be constructed and a newly appointed trust vested to manage it. The Calcutta Port Trust was founded in 1870, and the Legislative department of the then Government of Bengal passed the Howrah Bridge Act in the year 1871 under the Bengal Act IX of 1871, empowering the lieutenant-governor to have the bridge constructed with Government capital under the aegis of the Port Commissioners.

Eventually a contract was signed with Sir Bradford Leslie to construct a pontoon bridge. Different parts of the bridge were constructed in England and shipped to Calcutta, where they were assembled. The assembling period was fraught with problems. The bridge was considerably damaged by the great cyclone on 20 March 1874. A steamer named Egeria broke from her moorings and collided head-on with the bridge, sinking three pontoons and damaging nearly 200 feet of the bridge. The bridge was complete in 1874, at a total cost of ₹2.2 million, and opened to traffic on 17 October of that year. The bridge was then 1528 ft long and 62 ft wide, with 7-foot wide pavements on either side. Initially the bridge was periodically unfastened to allow steamers and other marine vehicles to pass through. Before 1906, the bridge used to be undone for the passage of vessels during daytime only. Since June of that year it started opening at night for all vessels except ocean steamers, which were required to pass through during daytime. From 19 August 1879, the bridge was illuminated by electric lamp-posts, powered by the dynamo at the Mullick Ghat Pumping Station.[9] As the bridge could not handle the rapidly increasing load, the Port Commissioners started planning in 1905 for a new improved bridge.

PLANS FOR A NEW BRIDGE

In 1906[8] the Port Commission appointed a committee headed by R.S. Highet, chief engineer, East Indian Railway and W.B. MacCabe, chief engineer, Calcutta Corporation. They submitted a report stating that Bullock carts formed the eight - thirteenths of the vehicular traffic (as observed on 27 August 1906, the heaviest day's traffic observed in the port of Commissioners 16 days' Census of the vehicular traffic across the existing bridge). The roadway on the existing bridge is 48 feet wide except at the shore spans where it is only 43 feet in roadways, each 21 feet 6 inches wide. The roadway on the new bridge would be wide enough to take at least two lines of vehicular traffic and one line of trams in each direction and two roadways each 30 feet wide, giving a total width of 60 feet of road way which are quite sufficient for this purpose [...]

The traffic across the existing floating bridge Calcutta & Howrah is very heavy and it is obvious if the new bridge is to be on the same site as the existing bridge, then unless a temporary bridge is provided, there will be serious interruptions to the traffic while existing bridge is being moved to one side to allow the new bridge to be erected on the same site as the present bridge.The committee considered six options:

Large ferry steamers capable of carrying vehicular load (set up cost ₹900,000, annual cost ₹438,000)

A transporters bridge (set up cost ₹2 million)

A tunnel (set up cost ₹338.2 million, annual maintenance cost ₹1,779,000)

A bridge on piers (set up cost ₹22.5 million)

A floating bridge (set up cost ₹2,140,000, annual maintenance cost ₹200,000)

An arched bridge

The committee eventually decided on a floating bridge. It extended tenders to 23 firms for its design and construction. Prize money of £3,000 (₹45,000, at the then exchange rate) was declared for the firm whose design would be accepted.

PLANNING AND ESTIMATION

The initial construction process of the bridge was stalled due to World War I, although the bridge was partially renewed in 1917 and 1927. In 1921 a committee of engineers named the 'Mukherjee Committee' was formed, headed by R. N. Mukherji, Sir Clement Hindley, chairman of Calcutta Port Trust and J. McGlashan, Chief Engineer. They referred the matter to Sir Basil Mott, who proposed a single span arch bridge. Charles Alfred O'Grady one of the Engineers

In 1922, the New Howrah Bridge Commission was set up, to which the Mukherjee Committee submitted its report. In 1926 the New Howrah Bridge Act passed. In 1930 the Goode Committee was formed, comprising S.W. Goode as president, S.N. Mallick, and W.H. Thompson, to investigate and report on the advisability of constructing a pier bridge between Calcutta and Howrah. Based on their recommendation, M/s. Rendel, Palmer and Tritton were asked to consider the construction of a suspension bridge of a particular design prepared by their chief draftsman Mr. Walton. On basis of the report, a global tender was floated. The lowest bid came from a German company, but due to increasing political tensions between Germany and Great Britain in 1935, it was not given the contract. The Braithwaite, Burn & Jessop Construction Co. was awarded the construction contract that year. The New Howrah Bridge Act was amended in 1935 to reflect this, and construction of the bridge started the next year

CONSTRUCTION

The bridge does not have nuts and bolts, but was formed by riveting the whole structure. It consumed 26,500 tons of steel, out of which 23,000 tons of high-tensile alloy steel, known as Tiscrom, were supplied by Tata Steel. The main tower was constructed with single monolith caissons of dimensions 55.31 m × 24.8 m with 21 shafts, each 6.25 metre square. The Chief Engineer of the Port Trust, Mr. J. McGlashan, wanted to replace the pontoon bridge, with a permanent structure, as the present bridge interfered with north–south river traffic. Work could not be started as World War I (1914–1918) broke out. Then in 1926 a commission under the chairmanship of Sir R. N. Mukherjee recommended a suspension bridge of a particular type to be built across the River Hoogly. The bridge was designed by one Mr. Walton of M/s Rendel, Palmer & Triton. The order for construction and erection was placed on M/s.Cleveland Bridge & Engineering Company in 1939. Again World War II (1939–1945) intervened. All the steel that was to come from England were diverted for war effort in Europe. Out of 26,000 tons of steel, that was required for the bridge, only 3000 tons were supplied from England. In spite of the Japanese threat, the then (British) government of India pressed on with the construction. Tata Steel were asked to supply the remaining 23,000 tons of high tension steel. The Tatas developed the quality of steel required for the bridge and called it Tiscom. The entire 23,000 tons was supplied in time. The fabrication and erection work was awarded to a local engineering firm of Howrah: the Braithwaite, Burn & Jessop Construction Co. The two anchorage caissons were each 16.4 m by 8.2 m, with two wells 4.9 m square. The caissons were so designed that the working chambers within the shafts could be temporarily enclosed by steel diaphragms to allow work under compressed air if required. The caisson at Kolkata side was set at 31.41 m and that at Howrah side at 26.53 m below ground level.

One night, during the process of grabbing out the muck to enable the caisson to move, the ground below it yielded, and the entire mass plunged two feet, shaking the ground. The impact of this was so intense that the seismograph at Kidderpore registered it as an earthquake and a Hindu temple on the shore was destroyed, although it was subsequently rebuilt. While muck was being cleared, numerous varieties of objects were brought up, including anchors, grappling irons, cannons, cannonballs, brass vessels, and coins dating back to the East India Company. The job of sinking the caissons was carried out round-the-clock at a rate of a foot or more per day. The caissons were sunk through soft river deposits to a stiff yellow clay 26.5 m below ground level. The accuracy of sinking the huge caissons was exceptionally precise, within 50–75 mm of the true position. After penetrating 2.1 m into clay, all shafts were plugged with concrete after individual dewatering, with some 5 m of backfilling in adjacent shafts. The main piers on the Howrah side were sunk by open wheel dredging, while those on the Kolkata side required compressed air to counter running sand. The air pressure maintained was about 40 lbs per square inch (2.8 bar), which required about 500 workers to be employed. Whenever excessively soft soil was encountered, the shafts symmetrical to the caisson axes were left unexcavated to allow strict control. In very stiff clays, a large number of the internal wells were completely undercut, allowing the whole weight of the caisson to be carried by the outside skin friction and the bearing under the external wall. Skin friction on the outside of the monolith walls was estimated at 29 kN/m2 while loads on the cutting edge in clay overlying the founding stratum reached 100 tonnes/m. The work on the foundation was completed in November 1938.

By the end of 1940, the erection of the cantilevered arms was commenced and was completed in mid-summer of 1941. The two halves of the suspended span, each 86 m long and weighing 2,000 tons, were built in December 1941. The bridge was erected by commencing at the two anchor spans and advancing towards the center, with the use of creeper cranes moving along the upper chord. 16 hydraulic jacks, each of which had an 800-ton capacity, were pressed into service to join the two halves of the suspended span.

The entire project cost ₹25 million (£2,463,887). The project was a pioneer in bridge construction, particularly in India, but the government did not have a formal opening of the bridge due to fears of attacks by Japanese planes fighting the Allied Powers. Japan had attacked the United States at Pearl Harbor on 7 December 1941. The first vehicle to use the bridge was a solitary tram.

The bridge is regarded "The Gateway to Kolkata, as it connects the city to Howrah Station".

DESCRIPTION

SPECIFICATIONS

When commissioned in 1943, Howrah was the 3rd-longest cantilever bridge in the world, behind Pont de Québec (549 metres) in Canada and Forth Bridge 521 metres in Scotland. It has since been surpassed by three bridges, making it the sixth-longest cantilever bridge in the world in 2013. It is a suspension type balanced cantilever bridge, with a central span 460 m between centers of main towers and a suspended span of 172 m. The main towers are 85 m high above the monoliths and 23 m apart at the top. The anchor arms are 99 m each, while the cantilever arms are 143 m each. The bridge deck hangs from panel points in the lower chord of the main trusses with 39 pairs of hangers. The roadways beyond the towers are supported from ground, leaving the anchor arms free from deck load. The deck system includes cross girders suspended between the pairs of hangers by a pinned connection. Six rows of longitudinal stringer girders are arranged between cross girders. Floor beams are supported transversally on top of the stringers, while themselves supporting a continuous pressed steel troughing system surfaced with concrete.

The longitudinal expansion and lateral sway movement of the deck are taken care of by expansion and articulation joints. There are two main expansion joints, one at each interface between the suspended span and the cantilever arms and there are others at the towers and at the interface of the steel and concrete structures at both approach. There are total 8 articulation joints, 3 at each of the cantilever arms and 1 each in the suspended portion. These joints divide the bridge into segments with vertical pin connection between them to facilitate rotational movements of the deck. The bridge deck has longitudinal ruling gradient of 1 in 40 from either end, joined by a vertical curve of radius 1,200 m. The cross gradient of deck is 1 in 48 between kerbs.

TRAFFIC

The bridge serves as the gateway to Kolkata, connecting it to the Howrah Station, which is one of the five intercity train terminus stations serving Howrah and Kolkata. As such, it carries the near entirety of the traffic to and from the station, taking its average daily traffic close to nearly 150,000 pedestrians and 100,000 vehicles. In 1946, a census of the daily traffic was taken, which counted 27,400 vehicles, 121,100 pedestrians and 2,997 cattle. The bulk of the vehicular traffic comes from buses and cars. Prior to 1993, the bridge also carried trams. Trams departed from the terminus at Howrah station towards Sealdah, Rajabazar, Shyambazar, High Court, Dalhousie Square, Park Circus, Ballygunge, Tollygunge etc. In 1993, tram service on the bridge was discontinued due to the increasing load on the structure. However, the bridge still continues to carry much more than the expected load. A 2007 report revealed that nearly 90,000 vehicles were plying on the bridge daily (15,000 of which were goods-carrying), though its load-bearing capacity is only 60,000. One of the main reasons for the overloading was that, although vehicles carrying up to 15 tonnes are allowed on the structure, vehicles with 12-18 wheels and carrying loads up to 25 tonnes often plied on it. From 31 May 2007 onwards, overloaded trucks were banned from crossing the bridge and were redirected to the Vidyasagar Setu instead. The road is flanked by footpaths 4.6 m wide, which are thronged with pedestrians.[

MAINTENANCE

The Kolkata Port Trust (KoPT) is vested with the maintenance of the bridge. The bridge has been subject to damage from vehicles due to rash driving, and corrosion due to atmospheric conditions and biological wastes. In October 2008, 6 high-tech surveillance cameras were placed to monitor the entire 705 metres long and 30 metres wide structure from the control room. Two of the cameras were placed under the floor of the bridge to track the movement of barges, steamers and boats on the river, while the other four were fixed to the first layer of beams — one at each end and two in the middle — to monitor vehicle movements. This was in response to substantial damage caused to the bridge from collisions with vehicles, so that compensation could be claimed from the miscreants.

Corrosion has been caused by bird droppings and human spitting. An investigation in 2003 revealed that as a result of prolonged chemical reaction caused by continuous collection of bird excreta, several joints and parts of the bridge were damaged. As an immediate measure, the Kolkata Port Trust engaged contractors to regularly clean the bird droppings, at an annual expense of ₹500,000 (US$6,300). In 2004, KoPT spent ₹6.5 million (US$81,000) to paint the entirety of 2.2 million square metres (24 million square feet) of the bridge. Two coats of aluminium paint, with a primer of zinc chromate before that, was applied on the bridge, requiring a total of 26,500 litres of paint.

The bridge is also considerably damaged by pedestrians spitting out acidic, lime-mixed stimulants (gutka and paan). A technical inspection by Port Trust officials in 2011 revealed that spitting had reduced the thickness of the steel hoods protecting the pillars from six to less than three millimeters since 2007. The hangers need those hoods at the base to prevent water seeping into the junction of the cross-girders and hangers, and damage to the hoods can jeopardize the safety of the bridge. KoPT announced that it will spend ₹2 million (US$25,000) on covering the base of the steel pillars with fibreglass casing to prevent spit from corroding them.

On 24 June 2005, a private cargo vessel M V Mani, belonging to the Ganges Water Transport Pvt. Ltd, while trying to pass under the bridge during high tide, had its funnel stuck underneath for three hours, causing substantial damage worth about ₹15 million to the stringer and longitudinal girder of the bridge. Some of the 40 cross-girders were also broken. Two of four trolley guides, bolted and welded with the girders, were extensively damaged. Nearly 350 metres of 700 metres of the track were twisted beyond repair. The damage was so severe that KoPT requested help from Rendall-Palmer & Tritton Limited, the original consultant on the bridge from UK. KoPT also contacted SAIL for 'matching steel' used during its construction in 1943. For the repair, which cost around ₹5 million (US$63,000), about 8 tonnes of steel was used. The repairs were completed in early 2006.

CULTURAL SIGNIFICANCE

The bridge has been shown in numerous films, such as Bimal Roy's 1953 film Do Bigha Zamin, Ritwik Ghatak's Bari Theke Paliye in 1958, Satyajit Ray's Parash Pathar in the same year, Mrinal Sen's Neel Akasher Neechey in 1959, Shakti Samanta's Howrah Bridge (1958), that featured the famous song Mera Naam Chin Chin Chu and China Town (1962) and Amar Prem (1971), Amar Jeet's 1965 Teen Devian in 1965, Mrinal Sen's 1972 National Award winning Bengali film Calcutta 71 and Sen's Calcutta Trilogy its sequel in 1973, Padatik, Richard Attenborough's 1982 Academy Award winning film Gandhi, Goutam Ghose's 1984 Hindi film Paar, Raj Kapoor's Ram Teri Ganga Maili in 1985, Nicolas Klotz's The Bengali Night in 1988, Roland Joffé's English language film City of Joy in 1992, Florian Gallenberger's Bengali film Shadows of Time in 2004, Mani Ratnam's Bollywood film Yuva in 2004, Pradeep Sarkar's 2005 Bollywood film Parineeta, Subhrajit Mitra's 2008 Bengali film Mon Amour: Shesher Kobita Revisited, Mira Nair's 2006 film The Namesake, Blessy's 2008 Malayalam Film Calcutta News, Surya Sivakumar's 2009 Tamil film Aadhavan, Imtiaz Ali's 2009 Hindi film Love Aaj Kal, Abhik Mukhopadhyay's 2010 Bengali film Ekti Tarar Khonje, Sujoy Ghosh's 2012 Bollywood film Kahaani, Anurag Basu's 2012 Hindi film Barfi!, Riingo Banerjee's 2012 Bengali film Na Hannyate, Rana Basu's 2013 Bengali film Namte Namte, and Ali Abbas Zafar's 2014 Hindi film Gunday and the 2015 YRF release from director Dibakar Banerjee's Detective Byomkesh Bakshy!. Shoojit sircar's "Piku" also features some scenes on this iconic bridge. The bridge was also featured in Garth Davis' Academy Award-nominated 2016 film Lion.

WIKIPEDIA

City Landmark – Chiki Sarkar’s New Publishing House, Near Kamal Nursery by Mayank Austen Soofi

A star is born. Click here to read at The Delhi Walla.

City Landmark – Chiki Sarkar’s New Publishing House, Near Kamal Nursery by Mayank Austen Soofi

A star is born. Click here to read at The Delhi Walla.

India - West Bengal - Kolkata - Howrah Bridge - 99dd by Manfred Sommer

2

Howrah Bridge is a cantilever bridge with a suspended span over the Hooghly River in West Bengal, India. Commissioned in 1943, the bridge was originally named the New Howrah Bridge, because it replaced a pontoon bridge at the same location linking the two cities of Howrah and Kolkata (Calcutta). On 14 June 1965 it was renamed Rabindra Setu after the great Bengali poet Rabindranath Tagore, who was the first Indian and Asian Nobel laureate. It is still popularly known as the Howrah Bridge.

The bridge is one of two on the Hooghly River and is a famous symbol of Kolkata and West Bengal. The other bridges are the Vidyasagar Setu (popularly called the Second Hooghly Bridge), the Vivekananda Setu, and the newly built Nivedita Setu. It weathers the storms of the Bay of Bengal region, carrying a daily traffic of approximately 100,000 vehicles and possibly more than 150,000 pedestrians, easily making it the busiest cantilever bridge in the world. The third-longest cantilever bridge at the time of its construction, the Howrah Bridge is the sixth-longest bridge of its type in the world.

HISTORY

1862 PROPOSAL BY TURNBULL

In 1862, the Government of Bengal asked George Turnbull, Chief Engineer of the East India Railway Company to study the feasibility of bridging the Hooghly River — he had recently established the company's rail terminus in Howrah. He reported on 29 March with large-scale drawings and estimates that:

- The foundations for a bridge at Calcutta would be at a considerable depth and cost because of the depth of the mud there.

- The impediment to shipping would be considerable.

- A good place for the bridge was at Pulta Ghat "about a dozen miles north of Calcutta" where a "bed of stiff clay - A suspended-girder bridge of five spans of 400 feet and two spans of 200 feet would be ideal.

The bridge was not built.

PONTOON BRIDGE

In view of the increasing traffic across the Hooghly river, a committee was appointed in 1855-56 to review alternatives for constructing a bridge across it. The plan was shelved in 1859-60, to be revived in 1868, when it was decided that a bridge should be constructed and a newly appointed trust vested to manage it. The Calcutta Port Trust was founded in 1870, and the Legislative department of the then Government of Bengal passed the Howrah Bridge Act in the year 1871 under the Bengal Act IX of 1871, empowering the Lieutenant-Governor to have the bridge constructed with Government capital under the aegis of the Port Commissioners. Eventually a contract was signed with Sir Bradford Leslie to construct a pontoon bridge. Different parts were constructed in England and shipped to Calcutta, where they were assembled. The assembling period was fraught with problems. The bridge was considerably damaged by the great cyclone on 20 March 1874. A steamer named Egeria broke from her moorings and collided head-on with the bridge, sinking three pontoons and damaging nearly 200 feet of the bridge. The bridge was completed in 1874, at a total cost of ₹2.2 million, and opened to traffic on 17 October of that year. The bridge was then 1528 ft. long and 62 ft. wide, with 7-foot wide pavements on either side. Initially the bridge was periodically unfastened to allow steamers and other marine vehicles to pass through. Before 1906, the bridge used to be undone for the passage of vessels during daytime only. Since June of that year it started opening at night for all vessels except ocean steamers, which were required to pass through during daytime. From 19 August 1879, the bridge was illuminated by electric lamp-posts, powered by the dynamo at the Mullick Ghat Pumping Station. As the bridge could not handle the rapidly increasing load, the Port Commissioners started planning in 1905 for a new improved bridge.

PLANS FOR A NEW BRIDGE

In 1906 the Port Commission appointed a committee headed by R.S. Highet, Chief Engineer, East Indian Railway and W.B. MacCabe, Chief Engineer, Calcutta Corporation. They submitted a report stating that Bullock carts formed the eight-thirteenths of the vehicular traffic (as observed on 27 August 1906, the heaviest day's traffic observed in the port of Commissioners 16 days' Census of the vehicular traffic across the existing bridge). The roadway on the existing bridge is 48 feet wide except at the shore spans where it is only 43 feet in roadways, each 21 feet 6 inches wide. The roadway on the new bridge would be wide enough to take at least two lines of vehicular traffic and one line of trams in each direction and two roadways each 30 feet wide, giving a total width of 60 feet of road way which are quite sufficient for this purpose . . . . . The traffic across the existing floating bridge Calcutta & Howrah is very heavy and it is obvious if the new bridge is to be on the same site as the existing bridge, then unless a temporary bridge is provided, there will be serious interruptions to the traffic while existing bridge is being moved to one side to allow the new bridge to be erected on the same site as the present bridge.

The committee considered six options:

- Large ferry steamers capable of carrying vehicular load (set up cost ₹900,000, annual cost ₹437,000)

- A transporters bridge (set up cost ₹2 million)

- A tunnel (set up cost ₹338.2 million, annual maintenance cost ₹1779,000)

- A bridge on piers (set up cost ₹22.5 million)

- A floating bridge (set up cost ₹2140,000, annual maintenance cost ₹200,000)

- An arched bridge

The committee eventually decided on a floating bridge. It extended tenders to 23 firms for its design and construction. Prize money of £ 3,000 (₹45,000, at the then exchange rate) was declared for the firm whose design would be accepted.

PLANNING AND ESTIMATION

The initial construction process of the bridge was stalled due to the World War I, although the bridge was partially renewed in 1917 and 1927. In 1921 a committee of engineers named the 'Mukherjee Committee' was formed, headed by Sir R.N. Mukherjee, Sir Clement Hindley, Chairman of Calcutta Port Trust and J. McGlashan, Chief Engineer. They referred the matter to Sir Basil Mott, who proposed a single span arch bridge.

In 1922 the New Howrah Bridge Commission was set up, to which the Mukherjee Committee submitted its report. In 1926 the New Howrah Bridge Act passed. In 1930 the Goode Committee was formed, comprising S.W. Goode as President, S.N. Mallick, and W.H. Thompson, to investigate and report on the advisability of constructing a pier bridge between Calcutta and Howrah. Based on their recommendation, M/s. Rendel, Palmer and Tritton were asked to consider the construction of a suspension bridge of a particular design prepared by their chief draftsman Mr. Walton. On basis of the report, a global tender was floated. The lowest bid came from a German company, but due to increasing political tensions between Germany and Great Britain in 1935, it was not given the contract. The Braithwaite Burn and Jessop Construction Company Limited was awarded the construction contract that year. The New Howrah Bridge Act was amended in 1935 to reflect this, and construction of the bridge started the next year.

CONSTRUCTION

The bridge does not have nuts and bolts, but was formed by riveting the whole structure. It consumed 26,500 tons of steel, out of which 23,000 tons of high-tensile alloy steel, known as Tiscrom, were supplied by Tata Steel. The main tower was constructed with single monolith caissons of dimensions 55.31 x 24.8 m with 21 shafts, each 6.25 metre square. The Chief Engineer of the Port Trust, Mr. J. McGlashan, wanted to replace the pontoon bridge, with a permanent structure, as the present bridge interfered with North/South river traffic. Work could not be started as World War I (1914-1918) broke out. Then in 1926 a commission under the Chairmanship of Sir R. N. Mukherjee recommended a suspension bridge of a particular type to be built across the River Hoogly. The bridge was designed by one Mr. Walton of M/s Rendel, Palmer & Triton. The order for construction and erection was placed on M/s.Cleveland Bridge & Engineering Company in 1939. Again World War II (1939-1945 ) intervened. All the steel that was to come from England were diverted for war effort in Europe. Out of 26,000 tons of steel, that was required for the bridge, only 3000 tons were supplied from England. In spite of the Japanese threat the then (British) Government of India pressed on with the construction. Tata Steel were asked to supply the remaining 23,000 tons of high tension steel. The Tatas developed the quality of steel required for the bridge and called it Tiscom. The entire 23,000 tons was supplied in time. The fabrication and erection work was awarded to a local engineering firm of Howrah - The Braithwaite Burn & Jessop Construction Company. The two anchorage caissons were each 16.4 m by 8.2 m, with two wells 4.9 m square. The caissons were so designed that the working chambers within the shafts could be temporarily enclosed by steel diaphragms to allow work under compressed air if required. The caisson at Kolkata side was set at 31.41 m and that at Howrah side at 26.53 m below ground level.

One night, during the process of grabbing out the muck to enable the caisson to move, the ground below it yielded, and the entire mass plunged two feet, shaking the ground. The impact of this was so intense that the seismograph at Kidderpore registered it as an earthquake and a Hindu temple on the shore was destroyed, although it was subsequently rebuilt. While muck was being cleared, numerous varieties of objects were brought up, including anchors, grappling irons, cannons, cannonballs, brass vessels, and coins dating back to the East India Company. The job of sinking the caissons was carried out round-the-clock at a rate of a foot or more per day. The caissons were sunk through soft river deposits to a stiff yellow clay 26.5 m below ground level. The accuracy of sinking the huge caissons was exceptionally precise, within 50–75 mm of the true position. After penetrating 2.1 m into clay, all shafts were plugged with concrete after individual dewatering, with some 5 m of backfilling in adjacent shafts. The main piers on the Howrah side were sunk by open wheel dredging, while those on the Kolkata side required compressed air to counter running sand. The air pressure maintained was about 40 lbs per square inch (2.8 bar), which required about 500 workers to be employed. Whenever excessively soft soil was encountered, the shafts symmetrical to the caisson axes were left unexcavated to allow strict control. In very stiff clays, a large number of the internal wells were completely undercut, allowing the whole weight of the caisson to be carried by the outside skin friction and the bearing under the external wall. Skin friction on the outside of the monolith walls was estimated at 29 kN/m2 while loads on the cutting edge in clay overlying the founding stratum reached 100 tonnes/m. The work on the foundation was completed on November 1938.

By the end of 1940, the erection of the cantilevered arms was commenced and was completed in mid-summer of 1941. The two halves of the suspended span, each 86 m long and weighing 2,000 tons, were built in December 1941. The bridge was erected by commencing at the two anchor spans and advancing towards the center, with the use of creeper cranes moving along the upper chord. 16 hydraulic jacks, each of which had an 800-ton capacity, were pressed into service to join the two halves of the suspended span.

The entire project cost ₹25 million (£2,463,887). The project was a pioneer in bridge construction, particularly in India, but the government did not have a formal opening of the bridge due to fears of attacks by Japanese planes fighting the Allied Powers. Japan had attacked the United States at Pearl Harbor on December 7, 1941. The first vehicle to use the bridge was a solitary tram.

DESCRIPTION

SPECIFICATIONS

When commissioned in 1943, Howrah was the 3rd-longest cantilever bridge in the world, behind Pont de Québec (549 metres) in Canada and Forth Bridge (521 metres) in Scotland. It has since been surpassed by three bridges, making it the sixth-longest cantilever bridge in the world in 2013. It is a Suspension type Balanced Cantilever bridge, with a central span of 460 m between centers of main towers and a suspended span of 172 m. The main towers are 85 m high above the monoliths and 23 m apart at the top. The anchor arms are 99 m each, while the cantilever arms are 143 m each. The bridge deck hangs from panel points in the lower chord of the main trusses with 39 pairs of hangers. The roadways beyond the towers are supported from ground, leaving the anchor arms free from deck load. The deck system includes cross girders suspended between the pairs of hangers by a pinned connection. Six rows of longitudinal stringer girders are arranged between cross girders. Floor beams are supported transversally on top of the stringers, while themselves supporting a continuous pressed steel troughing system surfaced with concrete.

The longitudinal expansion and lateral sway movement of the deck are taken care of by expansion and articulation joints. There are two main expansion joints, one at each interface between the suspended span and the cantilever arms, and there are others at the towers and at the interface of the steel and concrete structures at both approach. There are total 8 articulation joints, 3 at each of the cantilever arms and 1 each in the suspended portion. These joints divide the bridge into segments with vertical pin connection between them to facilitate rotational movements of the deck. The bridge deck has longitudinal ruling gradient of 1 in 40 from either end, joined by a vertical curve of radius 1,200 m. The cross gradient of deck is 1 in 48 between kerbs.

TRAFFIC

The bridge serves as the gateway to Kolkata, connecting it to the Howrah Station, which is one of the four intercity train stations serving Howrah and Kolkata. As such, it carries the near entirety of the traffic to and from the station, taking its average daily traffic close to nearly 150,000 pedestrians and 100,000 vehicles. In 1946 a census was taken to take a count of the daily traffic, it amounted to 27,400 vehicles, 121,100 pedestrians and 2,997 cattle. The bulk of the vehicular traffic comes from buses and cars. Prior to 1993 the bridge used to carry trams also. Trams departed from the terminus at Howrah station towards Rajabazar, Sealdah, High Court, Dalhousie Square, Park Circus and Shyambazar. From 1993 the tram services on the bridge were discontinued due to increasing load on the bridge. However the bridge still continues to carry much more than the expected load. A 2007 report revealed that nearly 90,000 vehicles were plying on the bridge daily (15,000 of which were goods-carrying), though its load-bearing capacity is only 60,000. One of the main reasons of overloading was that although vehicles carrying up to 15 tonnes are allowed on the structure, vehicles with 12-18 wheels and carrying load up to 25 tonnes often plied on it. 31 May 2007 onwards, overloaded trucks were banned from plying on the bridge, and were redirected to the Vidyasagar Setu instead. The road is flanked by footpaths of width 15 feet, and they swarm with pedestrians.

MAINTENANCE

The Kolkata Port Trust (KoPT) is vested with the maintenance of the bridge. The bridge has been subject to damage from vehicles due to rash driving, and corrosion due to atmospheric conditions and biological wastes. On October 2008, 6 high-tech surveillance cameras were placed to monitor the entire 705 metres long and 30 metres wide structure from the control room. Two of the cameras were placed under the floor of the bridge to track the movement of barges, steamers and boats on the river, while the other four were fixed to the first layer of beams — one at each end and two in the middle — to monitor vehicle movements. This was in response to substantial damage caused to the bridge from collisions with vehicles, so that compensation could be claimed from the miscreants.

Corrosion has been caused by bird droppings and human spitting. An investigation in 2003 revealed that as a result of prolonged chemical reaction caused by continuous collection of bird excreta, several joints and parts of the bridge were damaged. As an immediate measure, the Kolkata Port Trust engaged contractors to regularly clean the bird droppings, at an annual expense of ₹500000 (US$7,900). In 2004, KoPT spent ₹6.5 million (US$100,000) to paint the entirety of 2.2 million square metres (24 million square feet) of the bridge. Two coats of aluminium paint, with a primer of zinc chromate before that, was applied on the bridge, requiring a total of 26,500 litres of paint.

The bridge is also considerably damaged by human spitting. A technical inspection by Port Trust officials in 2011 revealed that spitting had reduced the thickness of the steel hoods protecting the pillars from six to less than three millimeters since 2007. The hangers need those hoods at the base to prevent water seeping into the junction of the cross-girders and hangers, and damage to the hoods can jeopardize the safety of the bridge. KoPT announced that it will spend ₹2 million (US$32,000) on covering the base of the steel pillars with fibreglass casing to prevent spit from corroding them.

On 24 June 2005, a private cargo vessel M V Mani, belonging to the Ganges Water Transport Pvt. Ltd, while trying to pass under the bridge during high tide, had its funnel stuck underneath for three hours, causing substantial damage worth about ₹15 million to the stringer and longitudinal girder of the bridge. Some of the 40 cross-girders were also broken. Two of four trolley guides, bolted and welded with the girders, were extensively damaged. Nearly 350 metres of 700 metres of the track were twisted beyond repair. The damage was so severe that KoPT requested help from Rendall-Palmer & Tritton Limited, the original consultant on the bridge from UK. KoPT also contacted SAIL to provide 'matching steel' used during its construction in 1943, for the repairs. For the repair costing around ₹5 million (US$79,000), about 8 tonnes of steel was used. The repairs were completed in early 2006.

CULTURAL SIGNIFICANCE

The bridge has been shown in numerous films, such as Bimal Roy's 1953 film Do Bigha Zamin, Ritwik Ghatak's Bari Theke Paliye in 1958, Satyajit Ray's Parash Pathar in the same year, Mrinal Sen's Neel Akasher Neechey in 1959, Shakti Samanta's Howrah Bridge (1958), that featured the famous song Mera Naam Chin Chin Chu and China Town (1962) and Amar Prem (1971), Amar Jeet's 1965 Teen Devian in 1965, Mrinal Sen's 1972 National Award winning Bengali film Calcutta 71 and Sen's Calcutta Trilogy its sequel in 1973, Padatik, Richard Attenborough's 1982 Academy Award winning film Gandhi, Goutam Ghose's 1984 Hindi film Paar, Raj Kapoor's Ram Teri Ganga Maili in 1985, Nicolas Klotz's The Bengali Night in 1988, Roland Joffé's English language film City of Joy in 1992, Florian Gallenberger's Bengali film Shadows of Time in 2004, Mani Ratnam's Bollywood film Yuva in 2004, Pradeep Sarkar's 2005 Bollywood film Parineeta, Subhrajit Mitra's 2008 Bengali film Mon Amour: Shesher Kobita Revisited, Mira Nair's 2006 film The Namesake, Blessy's 2008 Malayalam Film Calcutta News, Surya Sivakumar's 2009 Tamil film Aadhavan, Imtiaz Ali's 2009 Hindi film Love Aaj Kal, Abhik Mukhopadhyay's 2010 Bengali film Ekti Tarar Khonje, Sujoy Ghosh's 2012 Bollywood film Kahaani, Anurag Basu's 2012 Hindi film Barfi!, Riingo Banerjee's 2012 Bengali film Na Hannyate, Rana Basu's 2013 Bengali film Namte Namte, and Ali Abbas Zafar's 2014 Hindi film Gunday and the 2015 YRF release from director Dibakar Banerjee's Detective Byomkesh Bakshy!also features some scenes on this iconic bridge.

WIKIPEDIA

India - West Bengal - Kolkata - Howrah Bridge - 3 by Manfred Sommer

2

Howrah Bridge is a cantilever bridge with a suspended span over the Hooghly River in West Bengal, India. Commissioned in 1943, the bridge was originally named the New Howrah Bridge, because it replaced a pontoon bridge at the same location linking the two cities of Howrah and Kolkata (Calcutta). On 14 June 1965 it was renamed Rabindra Setu after the great Bengali poet Rabindranath Tagore, who was the first Indian and Asian Nobel laureate. It is still popularly known as the Howrah Bridge.

The bridge is one of two on the Hooghly River and is a famous symbol of Kolkata and West Bengal. The other bridges are the Vidyasagar Setu (popularly called the Second Hooghly Bridge), the Vivekananda Setu, and the newly built Nivedita Setu. It weathers the storms of the Bay of Bengal region, carrying a daily traffic of approximately 100,000 vehicles and possibly more than 150,000 pedestrians, easily making it the busiest cantilever bridge in the world. The third-longest cantilever bridge at the time of its construction, the Howrah Bridge is the sixth-longest bridge of its type in the world.

HISTORY

1862 PROPOSAL BY TURNBULL

In 1862, the Government of Bengal asked George Turnbull, Chief Engineer of the East India Railway Company to study the feasibility of bridging the Hooghly River — he had recently established the company's rail terminus in Howrah. He reported on 29 March with large-scale drawings and estimates that:

- The foundations for a bridge at Calcutta would be at a considerable depth and cost because of the depth of the mud there.

- The impediment to shipping would be considerable.

- A good place for the bridge was at Pulta Ghat "about a dozen miles north of Calcutta" where a "bed of stiff clay - A suspended-girder bridge of five spans of 400 feet and two spans of 200 feet would be ideal.

The bridge was not built.

PONTOON BRIDGE

In view of the increasing traffic across the Hooghly river, a committee was appointed in 1855-56 to review alternatives for constructing a bridge across it. The plan was shelved in 1859-60, to be revived in 1868, when it was decided that a bridge should be constructed and a newly appointed trust vested to manage it. The Calcutta Port Trust was founded in 1870, and the Legislative department of the then Government of Bengal passed the Howrah Bridge Act in the year 1871 under the Bengal Act IX of 1871, empowering the Lieutenant-Governor to have the bridge constructed with Government capital under the aegis of the Port Commissioners. Eventually a contract was signed with Sir Bradford Leslie to construct a pontoon bridge. Different parts were constructed in England and shipped to Calcutta, where they were assembled. The assembling period was fraught with problems. The bridge was considerably damaged by the great cyclone on 20 March 1874. A steamer named Egeria broke from her moorings and collided head-on with the bridge, sinking three pontoons and damaging nearly 200 feet of the bridge. The bridge was completed in 1874, at a total cost of ₹2.2 million, and opened to traffic on 17 October of that year. The bridge was then 1528 ft. long and 62 ft. wide, with 7-foot wide pavements on either side. Initially the bridge was periodically unfastened to allow steamers and other marine vehicles to pass through. Before 1906, the bridge used to be undone for the passage of vessels during daytime only. Since June of that year it started opening at night for all vessels except ocean steamers, which were required to pass through during daytime. From 19 August 1879, the bridge was illuminated by electric lamp-posts, powered by the dynamo at the Mullick Ghat Pumping Station. As the bridge could not handle the rapidly increasing load, the Port Commissioners started planning in 1905 for a new improved bridge.

PLANS FOR A NEW BRIDGE

In 1906 the Port Commission appointed a committee headed by R.S. Highet, Chief Engineer, East Indian Railway and W.B. MacCabe, Chief Engineer, Calcutta Corporation. They submitted a report stating that Bullock carts formed the eight-thirteenths of the vehicular traffic (as observed on 27 August 1906, the heaviest day's traffic observed in the port of Commissioners 16 days' Census of the vehicular traffic across the existing bridge). The roadway on the existing bridge is 48 feet wide except at the shore spans where it is only 43 feet in roadways, each 21 feet 6 inches wide. The roadway on the new bridge would be wide enough to take at least two lines of vehicular traffic and one line of trams in each direction and two roadways each 30 feet wide, giving a total width of 60 feet of road way which are quite sufficient for this purpose . . . . . The traffic across the existing floating bridge Calcutta & Howrah is very heavy and it is obvious if the new bridge is to be on the same site as the existing bridge, then unless a temporary bridge is provided, there will be serious interruptions to the traffic while existing bridge is being moved to one side to allow the new bridge to be erected on the same site as the present bridge.

The committee considered six options:

- Large ferry steamers capable of carrying vehicular load (set up cost ₹900,000, annual cost ₹437,000)

- A transporters bridge (set up cost ₹2 million)

- A tunnel (set up cost ₹338.2 million, annual maintenance cost ₹1779,000)

- A bridge on piers (set up cost ₹22.5 million)

- A floating bridge (set up cost ₹2140,000, annual maintenance cost ₹200,000)

- An arched bridge

The committee eventually decided on a floating bridge. It extended tenders to 23 firms for its design and construction. Prize money of £ 3,000 (₹45,000, at the then exchange rate) was declared for the firm whose design would be accepted.

PLANNING AND ESTIMATION

The initial construction process of the bridge was stalled due to the World War I, although the bridge was partially renewed in 1917 and 1927. In 1921 a committee of engineers named the 'Mukherjee Committee' was formed, headed by Sir R.N. Mukherjee, Sir Clement Hindley, Chairman of Calcutta Port Trust and J. McGlashan, Chief Engineer. They referred the matter to Sir Basil Mott, who proposed a single span arch bridge.

In 1922 the New Howrah Bridge Commission was set up, to which the Mukherjee Committee submitted its report. In 1926 the New Howrah Bridge Act passed. In 1930 the Goode Committee was formed, comprising S.W. Goode as President, S.N. Mallick, and W.H. Thompson, to investigate and report on the advisability of constructing a pier bridge between Calcutta and Howrah. Based on their recommendation, M/s. Rendel, Palmer and Tritton were asked to consider the construction of a suspension bridge of a particular design prepared by their chief draftsman Mr. Walton. On basis of the report, a global tender was floated. The lowest bid came from a German company, but due to increasing political tensions between Germany and Great Britain in 1935, it was not given the contract. The Braithwaite Burn and Jessop Construction Company Limited was awarded the construction contract that year. The New Howrah Bridge Act was amended in 1935 to reflect this, and construction of the bridge started the next year.

CONSTRUCTION

The bridge does not have nuts and bolts, but was formed by riveting the whole structure. It consumed 26,500 tons of steel, out of which 23,000 tons of high-tensile alloy steel, known as Tiscrom, were supplied by Tata Steel. The main tower was constructed with single monolith caissons of dimensions 55.31 x 24.8 m with 21 shafts, each 6.25 metre square. The Chief Engineer of the Port Trust, Mr. J. McGlashan, wanted to replace the pontoon bridge, with a permanent structure, as the present bridge interfered with North/South river traffic. Work could not be started as World War I (1914-1918) broke out. Then in 1926 a commission under the Chairmanship of Sir R. N. Mukherjee recommended a suspension bridge of a particular type to be built across the River Hoogly. The bridge was designed by one Mr. Walton of M/s Rendel, Palmer & Triton. The order for construction and erection was placed on M/s.Cleveland Bridge & Engineering Company in 1939. Again World War II (1939-1945 ) intervened. All the steel that was to come from England were diverted for war effort in Europe. Out of 26,000 tons of steel, that was required for the bridge, only 3000 tons were supplied from England. In spite of the Japanese threat the then (British) Government of India pressed on with the construction. Tata Steel were asked to supply the remaining 23,000 tons of high tension steel. The Tatas developed the quality of steel required for the bridge and called it Tiscom. The entire 23,000 tons was supplied in time. The fabrication and erection work was awarded to a local engineering firm of Howrah - The Braithwaite Burn & Jessop Construction Company. The two anchorage caissons were each 16.4 m by 8.2 m, with two wells 4.9 m square. The caissons were so designed that the working chambers within the shafts could be temporarily enclosed by steel diaphragms to allow work under compressed air if required. The caisson at Kolkata side was set at 31.41 m and that at Howrah side at 26.53 m below ground level.

One night, during the process of grabbing out the muck to enable the caisson to move, the ground below it yielded, and the entire mass plunged two feet, shaking the ground. The impact of this was so intense that the seismograph at Kidderpore registered it as an earthquake and a Hindu temple on the shore was destroyed, although it was subsequently rebuilt. While muck was being cleared, numerous varieties of objects were brought up, including anchors, grappling irons, cannons, cannonballs, brass vessels, and coins dating back to the East India Company. The job of sinking the caissons was carried out round-the-clock at a rate of a foot or more per day. The caissons were sunk through soft river deposits to a stiff yellow clay 26.5 m below ground level. The accuracy of sinking the huge caissons was exceptionally precise, within 50–75 mm of the true position. After penetrating 2.1 m into clay, all shafts were plugged with concrete after individual dewatering, with some 5 m of backfilling in adjacent shafts. The main piers on the Howrah side were sunk by open wheel dredging, while those on the Kolkata side required compressed air to counter running sand. The air pressure maintained was about 40 lbs per square inch (2.8 bar), which required about 500 workers to be employed. Whenever excessively soft soil was encountered, the shafts symmetrical to the caisson axes were left unexcavated to allow strict control. In very stiff clays, a large number of the internal wells were completely undercut, allowing the whole weight of the caisson to be carried by the outside skin friction and the bearing under the external wall. Skin friction on the outside of the monolith walls was estimated at 29 kN/m2 while loads on the cutting edge in clay overlying the founding stratum reached 100 tonnes/m. The work on the foundation was completed on November 1938.

By the end of 1940, the erection of the cantilevered arms was commenced and was completed in mid-summer of 1941. The two halves of the suspended span, each 86 m long and weighing 2,000 tons, were built in December 1941. The bridge was erected by commencing at the two anchor spans and advancing towards the center, with the use of creeper cranes moving along the upper chord. 16 hydraulic jacks, each of which had an 800-ton capacity, were pressed into service to join the two halves of the suspended span.

The entire project cost ₹25 million (£2,463,887). The project was a pioneer in bridge construction, particularly in India, but the government did not have a formal opening of the bridge due to fears of attacks by Japanese planes fighting the Allied Powers. Japan had attacked the United States at Pearl Harbor on December 7, 1941. The first vehicle to use the bridge was a solitary tram.

DESCRIPTION

SPECIFICATIONS

When commissioned in 1943, Howrah was the 3rd-longest cantilever bridge in the world, behind Pont de Québec (549 metres) in Canada and Forth Bridge (521 metres) in Scotland. It has since been surpassed by three bridges, making it the sixth-longest cantilever bridge in the world in 2013. It is a Suspension type Balanced Cantilever bridge, with a central span of 460 m between centers of main towers and a suspended span of 172 m. The main towers are 85 m high above the monoliths and 23 m apart at the top. The anchor arms are 99 m each, while the cantilever arms are 143 m each. The bridge deck hangs from panel points in the lower chord of the main trusses with 39 pairs of hangers. The roadways beyond the towers are supported from ground, leaving the anchor arms free from deck load. The deck system includes cross girders suspended between the pairs of hangers by a pinned connection. Six rows of longitudinal stringer girders are arranged between cross girders. Floor beams are supported transversally on top of the stringers, while themselves supporting a continuous pressed steel troughing system surfaced with concrete.

The longitudinal expansion and lateral sway movement of the deck are taken care of by expansion and articulation joints. There are two main expansion joints, one at each interface between the suspended span and the cantilever arms, and there are others at the towers and at the interface of the steel and concrete structures at both approach. There are total 8 articulation joints, 3 at each of the cantilever arms and 1 each in the suspended portion. These joints divide the bridge into segments with vertical pin connection between them to facilitate rotational movements of the deck. The bridge deck has longitudinal ruling gradient of 1 in 40 from either end, joined by a vertical curve of radius 1,200 m. The cross gradient of deck is 1 in 48 between kerbs.

TRAFFIC

The bridge serves as the gateway to Kolkata, connecting it to the Howrah Station, which is one of the four intercity train stations serving Howrah and Kolkata. As such, it carries the near entirety of the traffic to and from the station, taking its average daily traffic close to nearly 150,000 pedestrians and 100,000 vehicles. In 1946 a census was taken to take a count of the daily traffic, it amounted to 27,400 vehicles, 121,100 pedestrians and 2,997 cattle. The bulk of the vehicular traffic comes from buses and cars. Prior to 1993 the bridge used to carry trams also. Trams departed from the terminus at Howrah station towards Rajabazar, Sealdah, High Court, Dalhousie Square, Park Circus and Shyambazar. From 1993 the tram services on the bridge were discontinued due to increasing load on the bridge. However the bridge still continues to carry much more than the expected load. A 2007 report revealed that nearly 90,000 vehicles were plying on the bridge daily (15,000 of which were goods-carrying), though its load-bearing capacity is only 60,000. One of the main reasons of overloading was that although vehicles carrying up to 15 tonnes are allowed on the structure, vehicles with 12-18 wheels and carrying load up to 25 tonnes often plied on it. 31 May 2007 onwards, overloaded trucks were banned from plying on the bridge, and were redirected to the Vidyasagar Setu instead. The road is flanked by footpaths of width 15 feet, and they swarm with pedestrians.

MAINTENANCE

The Kolkata Port Trust (KoPT) is vested with the maintenance of the bridge. The bridge has been subject to damage from vehicles due to rash driving, and corrosion due to atmospheric conditions and biological wastes. On October 2008, 6 high-tech surveillance cameras were placed to monitor the entire 705 metres long and 30 metres wide structure from the control room. Two of the cameras were placed under the floor of the bridge to track the movement of barges, steamers and boats on the river, while the other four were fixed to the first layer of beams — one at each end and two in the middle — to monitor vehicle movements. This was in response to substantial damage caused to the bridge from collisions with vehicles, so that compensation could be claimed from the miscreants.

Corrosion has been caused by bird droppings and human spitting. An investigation in 2003 revealed that as a result of prolonged chemical reaction caused by continuous collection of bird excreta, several joints and parts of the bridge were damaged. As an immediate measure, the Kolkata Port Trust engaged contractors to regularly clean the bird droppings, at an annual expense of ₹500000 (US$7,900). In 2004, KoPT spent ₹6.5 million (US$100,000) to paint the entirety of 2.2 million square metres (24 million square feet) of the bridge. Two coats of aluminium paint, with a primer of zinc chromate before that, was applied on the bridge, requiring a total of 26,500 litres of paint.

The bridge is also considerably damaged by human spitting. A technical inspection by Port Trust officials in 2011 revealed that spitting had reduced the thickness of the steel hoods protecting the pillars from six to less than three millimeters since 2007. The hangers need those hoods at the base to prevent water seeping into the junction of the cross-girders and hangers, and damage to the hoods can jeopardize the safety of the bridge. KoPT announced that it will spend ₹2 million (US$32,000) on covering the base of the steel pillars with fibreglass casing to prevent spit from corroding them.

On 24 June 2005, a private cargo vessel M V Mani, belonging to the Ganges Water Transport Pvt. Ltd, while trying to pass under the bridge during high tide, had its funnel stuck underneath for three hours, causing substantial damage worth about ₹15 million to the stringer and longitudinal girder of the bridge. Some of the 40 cross-girders were also broken. Two of four trolley guides, bolted and welded with the girders, were extensively damaged. Nearly 350 metres of 700 metres of the track were twisted beyond repair. The damage was so severe that KoPT requested help from Rendall-Palmer & Tritton Limited, the original consultant on the bridge from UK. KoPT also contacted SAIL to provide 'matching steel' used during its construction in 1943, for the repairs. For the repair costing around ₹5 million (US$79,000), about 8 tonnes of steel was used. The repairs were completed in early 2006.

CULTURAL SIGNIFICANCE

The bridge has been shown in numerous films, such as Bimal Roy's 1953 film Do Bigha Zamin, Ritwik Ghatak's Bari Theke Paliye in 1958, Satyajit Ray's Parash Pathar in the same year, Mrinal Sen's Neel Akasher Neechey in 1959, Shakti Samanta's Howrah Bridge (1958), that featured the famous song Mera Naam Chin Chin Chu and China Town (1962) and Amar Prem (1971), Amar Jeet's 1965 Teen Devian in 1965, Mrinal Sen's 1972 National Award winning Bengali film Calcutta 71 and Sen's Calcutta Trilogy its sequel in 1973, Padatik, Richard Attenborough's 1982 Academy Award winning film Gandhi, Goutam Ghose's 1984 Hindi film Paar, Raj Kapoor's Ram Teri Ganga Maili in 1985, Nicolas Klotz's The Bengali Night in 1988, Roland Joffé's English language film City of Joy in 1992, Florian Gallenberger's Bengali film Shadows of Time in 2004, Mani Ratnam's Bollywood film Yuva in 2004, Pradeep Sarkar's 2005 Bollywood film Parineeta, Subhrajit Mitra's 2008 Bengali film Mon Amour: Shesher Kobita Revisited, Mira Nair's 2006 film The Namesake, Blessy's 2008 Malayalam Film Calcutta News, Surya Sivakumar's 2009 Tamil film Aadhavan, Imtiaz Ali's 2009 Hindi film Love Aaj Kal, Abhik Mukhopadhyay's 2010 Bengali film Ekti Tarar Khonje, Sujoy Ghosh's 2012 Bollywood film Kahaani, Anurag Basu's 2012 Hindi film Barfi!, Riingo Banerjee's 2012 Bengali film Na Hannyate, Rana Basu's 2013 Bengali film Namte Namte, and Ali Abbas Zafar's 2014 Hindi film Gunday and the 2015 YRF release from director Dibakar Banerjee's Detective Byomkesh Bakshy!also features some scenes on this iconic bridge.

WIKIPEDIA

City Landmark – Chiki Sarkar’s New Publishing House, Near Kamal Nursery by Mayank Austen Soofi

A star is born. Click here to read at The Delhi Walla.

India - West Bengal - Kolkata - Streetlife - Howrah Bridge - 099 by Manfred Sommer

1

Howrah Bridge is a cantilever bridge with a suspended span over the Hooghly River in West Bengal, India. Commissioned in 1943, the bridge was originally named the New Howrah Bridge, because it replaced a pontoon bridge at the same location linking the two cities of Howrah and Kolkata (Calcutta). On 14 June 1965 it was renamed Rabindra Setu after the great Bengali poet Rabindranath Tagore, who was the first Indian and Asian Nobel laureate. It is still popularly known as the Howrah Bridge.

The bridge is one of two on the Hooghly River and is a famous symbol of Kolkata and West Bengal. The other bridges are the Vidyasagar Setu (popularly called the Second Hooghly Bridge), the Vivekananda Setu, and the newly built Nivedita Setu. It weathers the storms of the Bay of Bengal region, carrying a daily traffic of approximately 100,000 vehicles and possibly more than 150,000 pedestrians, easily making it the busiest cantilever bridge in the world. The third-longest cantilever bridge at the time of its construction, the Howrah Bridge is the sixth-longest bridge of its type in the world.

HISTORY

1862 PROPOSAL BY TURNBULL

In 1862, the Government of Bengal asked George Turnbull, Chief Engineer of the East India Railway Company to study the feasibility of bridging the Hooghly River — he had recently established the company's rail terminus in Howrah. He reported on 29 March with large-scale drawings and estimates that:

- The foundations for a bridge at Calcutta would be at a considerable depth and cost because of the depth of the mud there.

- The impediment to shipping would be considerable.

- A good place for the bridge was at Pulta Ghat "about a dozen miles north of Calcutta" where a "bed of stiff clay - A suspended-girder bridge of five spans of 400 feet and two spans of 200 feet would be ideal.

The bridge was not built.

PONTOON BRIDGE

In view of the increasing traffic across the Hooghly river, a committee was appointed in 1855-56 to review alternatives for constructing a bridge across it. The plan was shelved in 1859-60, to be revived in 1868, when it was decided that a bridge should be constructed and a newly appointed trust vested to manage it. The Calcutta Port Trust was founded in 1870, and the Legislative department of the then Government of Bengal passed the Howrah Bridge Act in the year 1871 under the Bengal Act IX of 1871, empowering the Lieutenant-Governor to have the bridge constructed with Government capital under the aegis of the Port Commissioners. Eventually a contract was signed with Sir Bradford Leslie to construct a pontoon bridge. Different parts were constructed in England and shipped to Calcutta, where they were assembled. The assembling period was fraught with problems. The bridge was considerably damaged by the great cyclone on 20 March 1874. A steamer named Egeria broke from her moorings and collided head-on with the bridge, sinking three pontoons and damaging nearly 200 feet of the bridge. The bridge was completed in 1874, at a total cost of ₹2.2 million, and opened to traffic on 17 October of that year. The bridge was then 1528 ft. long and 62 ft. wide, with 7-foot wide pavements on either side. Initially the bridge was periodically unfastened to allow steamers and other marine vehicles to pass through. Before 1906, the bridge used to be undone for the passage of vessels during daytime only. Since June of that year it started opening at night for all vessels except ocean steamers, which were required to pass through during daytime. From 19 August 1879, the bridge was illuminated by electric lamp-posts, powered by the dynamo at the Mullick Ghat Pumping Station. As the bridge could not handle the rapidly increasing load, the Port Commissioners started planning in 1905 for a new improved bridge.

PLANS FOR A NEW BRIDGE

In 1906 the Port Commission appointed a committee headed by R.S. Highet, Chief Engineer, East Indian Railway and W.B. MacCabe, Chief Engineer, Calcutta Corporation. They submitted a report stating that Bullock carts formed the eight-thirteenths of the vehicular traffic (as observed on 27 August 1906, the heaviest day's traffic observed in the port of Commissioners 16 days' Census of the vehicular traffic across the existing bridge). The roadway on the existing bridge is 48 feet wide except at the shore spans where it is only 43 feet in roadways, each 21 feet 6 inches wide. The roadway on the new bridge would be wide enough to take at least two lines of vehicular traffic and one line of trams in each direction and two roadways each 30 feet wide, giving a total width of 60 feet of road way which are quite sufficient for this purpose . . . . . The traffic across the existing floating bridge Calcutta & Howrah is very heavy and it is obvious if the new bridge is to be on the same site as the existing bridge, then unless a temporary bridge is provided, there will be serious interruptions to the traffic while existing bridge is being moved to one side to allow the new bridge to be erected on the same site as the present bridge.

The committee considered six options:

- Large ferry steamers capable of carrying vehicular load (set up cost ₹900,000, annual cost ₹437,000)

- A transporters bridge (set up cost ₹2 million)

- A tunnel (set up cost ₹338.2 million, annual maintenance cost ₹1779,000)

- A bridge on piers (set up cost ₹22.5 million)

- A floating bridge (set up cost ₹2140,000, annual maintenance cost ₹200,000)

- An arched bridge

The committee eventually decided on a floating bridge. It extended tenders to 23 firms for its design and construction. Prize money of £ 3,000 (₹45,000, at the then exchange rate) was declared for the firm whose design would be accepted.

PLANNING AND ESTIMATION

The initial construction process of the bridge was stalled due to the World War I, although the bridge was partially renewed in 1917 and 1927. In 1921 a committee of engineers named the 'Mukherjee Committee' was formed, headed by Sir R.N. Mukherjee, Sir Clement Hindley, Chairman of Calcutta Port Trust and J. McGlashan, Chief Engineer. They referred the matter to Sir Basil Mott, who proposed a single span arch bridge.

In 1922 the New Howrah Bridge Commission was set up, to which the Mukherjee Committee submitted its report. In 1926 the New Howrah Bridge Act passed. In 1930 the Goode Committee was formed, comprising S.W. Goode as President, S.N. Mallick, and W.H. Thompson, to investigate and report on the advisability of constructing a pier bridge between Calcutta and Howrah. Based on their recommendation, M/s. Rendel, Palmer and Tritton were asked to consider the construction of a suspension bridge of a particular design prepared by their chief draftsman Mr. Walton. On basis of the report, a global tender was floated. The lowest bid came from a German company, but due to increasing political tensions between Germany and Great Britain in 1935, it was not given the contract. The Braithwaite Burn and Jessop Construction Company Limited was awarded the construction contract that year. The New Howrah Bridge Act was amended in 1935 to reflect this, and construction of the bridge started the next year.

CONSTRUCTION

The bridge does not have nuts and bolts, but was formed by riveting the whole structure. It consumed 26,500 tons of steel, out of which 23,000 tons of high-tensile alloy steel, known as Tiscrom, were supplied by Tata Steel. The main tower was constructed with single monolith caissons of dimensions 55.31 x 24.8 m with 21 shafts, each 6.25 metre square. The Chief Engineer of the Port Trust, Mr. J. McGlashan, wanted to replace the pontoon bridge, with a permanent structure, as the present bridge interfered with North/South river traffic. Work could not be started as World War I (1914-1918) broke out. Then in 1926 a commission under the Chairmanship of Sir R. N. Mukherjee recommended a suspension bridge of a particular type to be built across the River Hoogly. The bridge was designed by one Mr. Walton of M/s Rendel, Palmer & Triton. The order for construction and erection was placed on M/s.Cleveland Bridge & Engineering Company in 1939. Again World War II (1939-1945 ) intervened. All the steel that was to come from England were diverted for war effort in Europe. Out of 26,000 tons of steel, that was required for the bridge, only 3000 tons were supplied from England. In spite of the Japanese threat the then (British) Government of India pressed on with the construction. Tata Steel were asked to supply the remaining 23,000 tons of high tension steel. The Tatas developed the quality of steel required for the bridge and called it Tiscom. The entire 23,000 tons was supplied in time. The fabrication and erection work was awarded to a local engineering firm of Howrah - The Braithwaite Burn & Jessop Construction Company. The two anchorage caissons were each 16.4 m by 8.2 m, with two wells 4.9 m square. The caissons were so designed that the working chambers within the shafts could be temporarily enclosed by steel diaphragms to allow work under compressed air if required. The caisson at Kolkata side was set at 31.41 m and that at Howrah side at 26.53 m below ground level.

One night, during the process of grabbing out the muck to enable the caisson to move, the ground below it yielded, and the entire mass plunged two feet, shaking the ground. The impact of this was so intense that the seismograph at Kidderpore registered it as an earthquake and a Hindu temple on the shore was destroyed, although it was subsequently rebuilt. While muck was being cleared, numerous varieties of objects were brought up, including anchors, grappling irons, cannons, cannonballs, brass vessels, and coins dating back to the East India Company. The job of sinking the caissons was carried out round-the-clock at a rate of a foot or more per day. The caissons were sunk through soft river deposits to a stiff yellow clay 26.5 m below ground level. The accuracy of sinking the huge caissons was exceptionally precise, within 50–75 mm of the true position. After penetrating 2.1 m into clay, all shafts were plugged with concrete after individual dewatering, with some 5 m of backfilling in adjacent shafts. The main piers on the Howrah side were sunk by open wheel dredging, while those on the Kolkata side required compressed air to counter running sand. The air pressure maintained was about 40 lbs per square inch (2.8 bar), which required about 500 workers to be employed. Whenever excessively soft soil was encountered, the shafts symmetrical to the caisson axes were left unexcavated to allow strict control. In very stiff clays, a large number of the internal wells were completely undercut, allowing the whole weight of the caisson to be carried by the outside skin friction and the bearing under the external wall. Skin friction on the outside of the monolith walls was estimated at 29 kN/m2 while loads on the cutting edge in clay overlying the founding stratum reached 100 tonnes/m. The work on the foundation was completed on November 1938.

By the end of 1940, the erection of the cantilevered arms was commenced and was completed in mid-summer of 1941. The two halves of the suspended span, each 86 m long and weighing 2,000 tons, were built in December 1941. The bridge was erected by commencing at the two anchor spans and advancing towards the center, with the use of creeper cranes moving along the upper chord. 16 hydraulic jacks, each of which had an 800-ton capacity, were pressed into service to join the two halves of the suspended span.

The entire project cost ₹25 million (£2,463,887). The project was a pioneer in bridge construction, particularly in India, but the government did not have a formal opening of the bridge due to fears of attacks by Japanese planes fighting the Allied Powers. Japan had attacked the United States at Pearl Harbor on December 7, 1941. The first vehicle to use the bridge was a solitary tram.

DESCRIPTION

SPECIFICATIONS

When commissioned in 1943, Howrah was the 3rd-longest cantilever bridge in the world, behind Pont de Québec (549 metres) in Canada and Forth Bridge (521 metres) in Scotland. It has since been surpassed by three bridges, making it the sixth-longest cantilever bridge in the world in 2013. It is a Suspension type Balanced Cantilever bridge, with a central span of 460 m between centers of main towers and a suspended span of 172 m. The main towers are 85 m high above the monoliths and 23 m apart at the top. The anchor arms are 99 m each, while the cantilever arms are 143 m each. The bridge deck hangs from panel points in the lower chord of the main trusses with 39 pairs of hangers. The roadways beyond the towers are supported from ground, leaving the anchor arms free from deck load. The deck system includes cross girders suspended between the pairs of hangers by a pinned connection. Six rows of longitudinal stringer girders are arranged between cross girders. Floor beams are supported transversally on top of the stringers, while themselves supporting a continuous pressed steel troughing system surfaced with concrete.

The longitudinal expansion and lateral sway movement of the deck are taken care of by expansion and articulation joints. There are two main expansion joints, one at each interface between the suspended span and the cantilever arms, and there are others at the towers and at the interface of the steel and concrete structures at both approach. There are total 8 articulation joints, 3 at each of the cantilever arms and 1 each in the suspended portion. These joints divide the bridge into segments with vertical pin connection between them to facilitate rotational movements of the deck. The bridge deck has longitudinal ruling gradient of 1 in 40 from either end, joined by a vertical curve of radius 1,200 m. The cross gradient of deck is 1 in 48 between kerbs.

TRAFFIC

The bridge serves as the gateway to Kolkata, connecting it to the Howrah Station, which is one of the four intercity train stations serving Howrah and Kolkata. As such, it carries the near entirety of the traffic to and from the station, taking its average daily traffic close to nearly 150,000 pedestrians and 100,000 vehicles. In 1946 a census was taken to take a count of the daily traffic, it amounted to 27,400 vehicles, 121,100 pedestrians and 2,997 cattle. The bulk of the vehicular traffic comes from buses and cars. Prior to 1993 the bridge used to carry trams also. Trams departed from the terminus at Howrah station towards Rajabazar, Sealdah, High Court, Dalhousie Square, Park Circus and Shyambazar. From 1993 the tram services on the bridge were discontinued due to increasing load on the bridge. However the bridge still continues to carry much more than the expected load. A 2007 report revealed that nearly 90,000 vehicles were plying on the bridge daily (15,000 of which were goods-carrying), though its load-bearing capacity is only 60,000. One of the main reasons of overloading was that although vehicles carrying up to 15 tonnes are allowed on the structure, vehicles with 12-18 wheels and carrying load up to 25 tonnes often plied on it. 31 May 2007 onwards, overloaded trucks were banned from plying on the bridge, and were redirected to the Vidyasagar Setu instead. The road is flanked by footpaths of width 15 feet, and they swarm with pedestrians.

MAINTENANCE

The Kolkata Port Trust (KoPT) is vested with the maintenance of the bridge. The bridge has been subject to damage from vehicles due to rash driving, and corrosion due to atmospheric conditions and biological wastes. On October 2008, 6 high-tech surveillance cameras were placed to monitor the entire 705 metres long and 30 metres wide structure from the control room. Two of the cameras were placed under the floor of the bridge to track the movement of barges, steamers and boats on the river, while the other four were fixed to the first layer of beams — one at each end and two in the middle — to monitor vehicle movements. This was in response to substantial damage caused to the bridge from collisions with vehicles, so that compensation could be claimed from the miscreants.

Corrosion has been caused by bird droppings and human spitting. An investigation in 2003 revealed that as a result of prolonged chemical reaction caused by continuous collection of bird excreta, several joints and parts of the bridge were damaged. As an immediate measure, the Kolkata Port Trust engaged contractors to regularly clean the bird droppings, at an annual expense of ₹500000 (US$7,900). In 2004, KoPT spent ₹6.5 million (US$100,000) to paint the entirety of 2.2 million square metres (24 million square feet) of the bridge. Two coats of aluminium paint, with a primer of zinc chromate before that, was applied on the bridge, requiring a total of 26,500 litres of paint.

The bridge is also considerably damaged by human spitting. A technical inspection by Port Trust officials in 2011 revealed that spitting had reduced the thickness of the steel hoods protecting the pillars from six to less than three millimeters since 2007. The hangers need those hoods at the base to prevent water seeping into the junction of the cross-girders and hangers, and damage to the hoods can jeopardize the safety of the bridge. KoPT announced that it will spend ₹2 million (US$32,000) on covering the base of the steel pillars with fibreglass casing to prevent spit from corroding them.

On 24 June 2005, a private cargo vessel M V Mani, belonging to the Ganges Water Transport Pvt. Ltd, while trying to pass under the bridge during high tide, had its funnel stuck underneath for three hours, causing substantial damage worth about ₹15 million to the stringer and longitudinal girder of the bridge. Some of the 40 cross-girders were also broken. Two of four trolley guides, bolted and welded with the girders, were extensively damaged. Nearly 350 metres of 700 metres of the track were twisted beyond repair. The damage was so severe that KoPT requested help from Rendall-Palmer & Tritton Limited, the original consultant on the bridge from UK. KoPT also contacted SAIL to provide 'matching steel' used during its construction in 1943, for the repairs. For the repair costing around ₹5 million (US$79,000), about 8 tonnes of steel was used. The repairs were completed in early 2006.

CULTURAL SIGNIFICANCE

The bridge has been shown in numerous films, such as Bimal Roy's 1953 film Do Bigha Zamin, Ritwik Ghatak's Bari Theke Paliye in 1958, Satyajit Ray's Parash Pathar in the same year, Mrinal Sen's Neel Akasher Neechey in 1959, Shakti Samanta's Howrah Bridge (1958), that featured the famous song Mera Naam Chin Chin Chu and China Town (1962) and Amar Prem (1971), Amar Jeet's 1965 Teen Devian in 1965, Mrinal Sen's 1972 National Award winning Bengali film Calcutta 71 and Sen's Calcutta Trilogy its sequel in 1973, Padatik, Richard Attenborough's 1982 Academy Award winning film Gandhi, Goutam Ghose's 1984 Hindi film Paar, Raj Kapoor's Ram Teri Ganga Maili in 1985, Nicolas Klotz's The Bengali Night in 1988, Roland Joffé's English language film City of Joy in 1992, Florian Gallenberger's Bengali film Shadows of Time in 2004, Mani Ratnam's Bollywood film Yuva in 2004, Pradeep Sarkar's 2005 Bollywood film Parineeta, Subhrajit Mitra's 2008 Bengali film Mon Amour: Shesher Kobita Revisited, Mira Nair's 2006 film The Namesake, Blessy's 2008 Malayalam Film Calcutta News, Surya Sivakumar's 2009 Tamil film Aadhavan, Imtiaz Ali's 2009 Hindi film Love Aaj Kal, Abhik Mukhopadhyay's 2010 Bengali film Ekti Tarar Khonje, Sujoy Ghosh's 2012 Bollywood film Kahaani, Anurag Basu's 2012 Hindi film Barfi!, Riingo Banerjee's 2012 Bengali film Na Hannyate, Rana Basu's 2013 Bengali film Namte Namte, and Ali Abbas Zafar's 2014 Hindi film Gunday and the 2015 YRF release from director Dibakar Banerjee's Detective Byomkesh Bakshy!also features some scenes on this iconic bridge.

WIKIPEDIA

India - West Bengal - Kolkata - Howrah Bridge - 99bb by Manfred Sommer

Howrah Bridge is a cantilever bridge with a suspended span over the Hooghly River in West Bengal, India. Commissioned in 1943, the bridge was originally named the New Howrah Bridge, because it replaced a pontoon bridge at the same location linking the two cities of Howrah and Kolkata (Calcutta). On 14 June 1965 it was renamed Rabindra Setu after the great Bengali poet Rabindranath Tagore, who was the first Indian and Asian Nobel laureate. It is still popularly known as the Howrah Bridge.

The bridge is one of two on the Hooghly River and is a famous symbol of Kolkata and West Bengal. The other bridges are the Vidyasagar Setu (popularly called the Second Hooghly Bridge), the Vivekananda Setu, and the newly built Nivedita Setu. It weathers the storms of the Bay of Bengal region, carrying a daily traffic of approximately 100,000 vehicles and possibly more than 150,000 pedestrians, easily making it the busiest cantilever bridge in the world. The third-longest cantilever bridge at the time of its construction, the Howrah Bridge is the sixth-longest bridge of its type in the world.

HISTORY

1862 PROPOSAL BY TURNBULL

In 1862, the Government of Bengal asked George Turnbull, Chief Engineer of the East India Railway Company to study the feasibility of bridging the Hooghly River — he had recently established the company's rail terminus in Howrah. He reported on 29 March with large-scale drawings and estimates that:

- The foundations for a bridge at Calcutta would be at a considerable depth and cost because of the depth of the mud there.

- The impediment to shipping would be considerable.

- A good place for the bridge was at Pulta Ghat "about a dozen miles north of Calcutta" where a "bed of stiff clay - A suspended-girder bridge of five spans of 400 feet and two spans of 200 feet would be ideal.

The bridge was not built.

PONTOON BRIDGE

In view of the increasing traffic across the Hooghly river, a committee was appointed in 1855-56 to review alternatives for constructing a bridge across it. The plan was shelved in 1859-60, to be revived in 1868, when it was decided that a bridge should be constructed and a newly appointed trust vested to manage it. The Calcutta Port Trust was founded in 1870, and the Legislative department of the then Government of Bengal passed the Howrah Bridge Act in the year 1871 under the Bengal Act IX of 1871, empowering the Lieutenant-Governor to have the bridge constructed with Government capital under the aegis of the Port Commissioners. Eventually a contract was signed with Sir Bradford Leslie to construct a pontoon bridge. Different parts were constructed in England and shipped to Calcutta, where they were assembled. The assembling period was fraught with problems. The bridge was considerably damaged by the great cyclone on 20 March 1874. A steamer named Egeria broke from her moorings and collided head-on with the bridge, sinking three pontoons and damaging nearly 200 feet of the bridge. The bridge was completed in 1874, at a total cost of ₹2.2 million, and opened to traffic on 17 October of that year. The bridge was then 1528 ft. long and 62 ft. wide, with 7-foot wide pavements on either side. Initially the bridge was periodically unfastened to allow steamers and other marine vehicles to pass through. Before 1906, the bridge used to be undone for the passage of vessels during daytime only. Since June of that year it started opening at night for all vessels except ocean steamers, which were required to pass through during daytime. From 19 August 1879, the bridge was illuminated by electric lamp-posts, powered by the dynamo at the Mullick Ghat Pumping Station. As the bridge could not handle the rapidly increasing load, the Port Commissioners started planning in 1905 for a new improved bridge.

PLANS FOR A NEW BRIDGE

In 1906 the Port Commission appointed a committee headed by R.S. Highet, Chief Engineer, East Indian Railway and W.B. MacCabe, Chief Engineer, Calcutta Corporation. They submitted a report stating that Bullock carts formed the eight-thirteenths of the vehicular traffic (as observed on 27 August 1906, the heaviest day's traffic observed in the port of Commissioners 16 days' Census of the vehicular traffic across the existing bridge). The roadway on the existing bridge is 48 feet wide except at the shore spans where it is only 43 feet in roadways, each 21 feet 6 inches wide. The roadway on the new bridge would be wide enough to take at least two lines of vehicular traffic and one line of trams in each direction and two roadways each 30 feet wide, giving a total width of 60 feet of road way which are quite sufficient for this purpose . . . . . The traffic across the existing floating bridge Calcutta & Howrah is very heavy and it is obvious if the new bridge is to be on the same site as the existing bridge, then unless a temporary bridge is provided, there will be serious interruptions to the traffic while existing bridge is being moved to one side to allow the new bridge to be erected on the same site as the present bridge.

The committee considered six options:

- Large ferry steamers capable of carrying vehicular load (set up cost ₹900,000, annual cost ₹437,000)

- A transporters bridge (set up cost ₹2 million)

- A tunnel (set up cost ₹338.2 million, annual maintenance cost ₹1779,000)

- A bridge on piers (set up cost ₹22.5 million)

- A floating bridge (set up cost ₹2140,000, annual maintenance cost ₹200,000)

- An arched bridge

The committee eventually decided on a floating bridge. It extended tenders to 23 firms for its design and construction. Prize money of £ 3,000 (₹45,000, at the then exchange rate) was declared for the firm whose design would be accepted.

PLANNING AND ESTIMATION

The initial construction process of the bridge was stalled due to the World War I, although the bridge was partially renewed in 1917 and 1927. In 1921 a committee of engineers named the 'Mukherjee Committee' was formed, headed by Sir R.N. Mukherjee, Sir Clement Hindley, Chairman of Calcutta Port Trust and J. McGlashan, Chief Engineer. They referred the matter to Sir Basil Mott, who proposed a single span arch bridge.

In 1922 the New Howrah Bridge Commission was set up, to which the Mukherjee Committee submitted its report. In 1926 the New Howrah Bridge Act passed. In 1930 the Goode Committee was formed, comprising S.W. Goode as President, S.N. Mallick, and W.H. Thompson, to investigate and report on the advisability of constructing a pier bridge between Calcutta and Howrah. Based on their recommendation, M/s. Rendel, Palmer and Tritton were asked to consider the construction of a suspension bridge of a particular design prepared by their chief draftsman Mr. Walton. On basis of the report, a global tender was floated. The lowest bid came from a German company, but due to increasing political tensions between Germany and Great Britain in 1935, it was not given the contract. The Braithwaite Burn and Jessop Construction Company Limited was awarded the construction contract that year. The New Howrah Bridge Act was amended in 1935 to reflect this, and construction of the bridge started the next year.

CONSTRUCTION

The bridge does not have nuts and bolts, but was formed by riveting the whole structure. It consumed 26,500 tons of steel, out of which 23,000 tons of high-tensile alloy steel, known as Tiscrom, were supplied by Tata Steel. The main tower was constructed with single monolith caissons of dimensions 55.31 x 24.8 m with 21 shafts, each 6.25 metre square. The Chief Engineer of the Port Trust, Mr. J. McGlashan, wanted to replace the pontoon bridge, with a permanent structure, as the present bridge interfered with North/South river traffic. Work could not be started as World War I (1914-1918) broke out. Then in 1926 a commission under the Chairmanship of Sir R. N. Mukherjee recommended a suspension bridge of a particular type to be built across the River Hoogly. The bridge was designed by one Mr. Walton of M/s Rendel, Palmer & Triton. The order for construction and erection was placed on M/s.Cleveland Bridge & Engineering Company in 1939. Again World War II (1939-1945 ) intervened. All the steel that was to come from England were diverted for war effort in Europe. Out of 26,000 tons of steel, that was required for the bridge, only 3000 tons were supplied from England. In spite of the Japanese threat the then (British) Government of India pressed on with the construction. Tata Steel were asked to supply the remaining 23,000 tons of high tension steel. The Tatas developed the quality of steel required for the bridge and called it Tiscom. The entire 23,000 tons was supplied in time. The fabrication and erection work was awarded to a local engineering firm of Howrah - The Braithwaite Burn & Jessop Construction Company. The two anchorage caissons were each 16.4 m by 8.2 m, with two wells 4.9 m square. The caissons were so designed that the working chambers within the shafts could be temporarily enclosed by steel diaphragms to allow work under compressed air if required. The caisson at Kolkata side was set at 31.41 m and that at Howrah side at 26.53 m below ground level.

One night, during the process of grabbing out the muck to enable the caisson to move, the ground below it yielded, and the entire mass plunged two feet, shaking the ground. The impact of this was so intense that the seismograph at Kidderpore registered it as an earthquake and a Hindu temple on the shore was destroyed, although it was subsequently rebuilt. While muck was being cleared, numerous varieties of objects were brought up, including anchors, grappling irons, cannons, cannonballs, brass vessels, and coins dating back to the East India Company. The job of sinking the caissons was carried out round-the-clock at a rate of a foot or more per day. The caissons were sunk through soft river deposits to a stiff yellow clay 26.5 m below ground level. The accuracy of sinking the huge caissons was exceptionally precise, within 50–75 mm of the true position. After penetrating 2.1 m into clay, all shafts were plugged with concrete after individual dewatering, with some 5 m of backfilling in adjacent shafts. The main piers on the Howrah side were sunk by open wheel dredging, while those on the Kolkata side required compressed air to counter running sand. The air pressure maintained was about 40 lbs per square inch (2.8 bar), which required about 500 workers to be employed. Whenever excessively soft soil was encountered, the shafts symmetrical to the caisson axes were left unexcavated to allow strict control. In very stiff clays, a large number of the internal wells were completely undercut, allowing the whole weight of the caisson to be carried by the outside skin friction and the bearing under the external wall. Skin friction on the outside of the monolith walls was estimated at 29 kN/m2 while loads on the cutting edge in clay overlying the founding stratum reached 100 tonnes/m. The work on the foundation was completed on November 1938.

By the end of 1940, the erection of the cantilevered arms was commenced and was completed in mid-summer of 1941. The two halves of the suspended span, each 86 m long and weighing 2,000 tons, were built in December 1941. The bridge was erected by commencing at the two anchor spans and advancing towards the center, with the use of creeper cranes moving along the upper chord. 16 hydraulic jacks, each of which had an 800-ton capacity, were pressed into service to join the two halves of the suspended span.

The entire project cost ₹25 million (£2,463,887). The project was a pioneer in bridge construction, particularly in India, but the government did not have a formal opening of the bridge due to fears of attacks by Japanese planes fighting the Allied Powers. Japan had attacked the United States at Pearl Harbor on December 7, 1941. The first vehicle to use the bridge was a solitary tram.

DESCRIPTION

SPECIFICATIONS

When commissioned in 1943, Howrah was the 3rd-longest cantilever bridge in the world, behind Pont de Québec (549 metres) in Canada and Forth Bridge (521 metres) in Scotland. It has since been surpassed by three bridges, making it the sixth-longest cantilever bridge in the world in 2013. It is a Suspension type Balanced Cantilever bridge, with a central span of 460 m between centers of main towers and a suspended span of 172 m. The main towers are 85 m high above the monoliths and 23 m apart at the top. The anchor arms are 99 m each, while the cantilever arms are 143 m each. The bridge deck hangs from panel points in the lower chord of the main trusses with 39 pairs of hangers. The roadways beyond the towers are supported from ground, leaving the anchor arms free from deck load. The deck system includes cross girders suspended between the pairs of hangers by a pinned connection. Six rows of longitudinal stringer girders are arranged between cross girders. Floor beams are supported transversally on top of the stringers, while themselves supporting a continuous pressed steel troughing system surfaced with concrete.

The longitudinal expansion and lateral sway movement of the deck are taken care of by expansion and articulation joints. There are two main expansion joints, one at each interface between the suspended span and the cantilever arms, and there are others at the towers and at the interface of the steel and concrete structures at both approach. There are total 8 articulation joints, 3 at each of the cantilever arms and 1 each in the suspended portion. These joints divide the bridge into segments with vertical pin connection between them to facilitate rotational movements of the deck. The bridge deck has longitudinal ruling gradient of 1 in 40 from either end, joined by a vertical curve of radius 1,200 m. The cross gradient of deck is 1 in 48 between kerbs.

TRAFFIC

The bridge serves as the gateway to Kolkata, connecting it to the Howrah Station, which is one of the four intercity train stations serving Howrah and Kolkata. As such, it carries the near entirety of the traffic to and from the station, taking its average daily traffic close to nearly 150,000 pedestrians and 100,000 vehicles. In 1946 a census was taken to take a count of the daily traffic, it amounted to 27,400 vehicles, 121,100 pedestrians and 2,997 cattle. The bulk of the vehicular traffic comes from buses and cars. Prior to 1993 the bridge used to carry trams also. Trams departed from the terminus at Howrah station towards Rajabazar, Sealdah, High Court, Dalhousie Square, Park Circus and Shyambazar. From 1993 the tram services on the bridge were discontinued due to increasing load on the bridge. However the bridge still continues to carry much more than the expected load. A 2007 report revealed that nearly 90,000 vehicles were plying on the bridge daily (15,000 of which were goods-carrying), though its load-bearing capacity is only 60,000. One of the main reasons of overloading was that although vehicles carrying up to 15 tonnes are allowed on the structure, vehicles with 12-18 wheels and carrying load up to 25 tonnes often plied on it. 31 May 2007 onwards, overloaded trucks were banned from plying on the bridge, and were redirected to the Vidyasagar Setu instead. The road is flanked by footpaths of width 15 feet, and they swarm with pedestrians.

MAINTENANCE

The Kolkata Port Trust (KoPT) is vested with the maintenance of the bridge. The bridge has been subject to damage from vehicles due to rash driving, and corrosion due to atmospheric conditions and biological wastes. On October 2008, 6 high-tech surveillance cameras were placed to monitor the entire 705 metres long and 30 metres wide structure from the control room. Two of the cameras were placed under the floor of the bridge to track the movement of barges, steamers and boats on the river, while the other four were fixed to the first layer of beams — one at each end and two in the middle — to monitor vehicle movements. This was in response to substantial damage caused to the bridge from collisions with vehicles, so that compensation could be claimed from the miscreants.

Corrosion has been caused by bird droppings and human spitting. An investigation in 2003 revealed that as a result of prolonged chemical reaction caused by continuous collection of bird excreta, several joints and parts of the bridge were damaged. As an immediate measure, the Kolkata Port Trust engaged contractors to regularly clean the bird droppings, at an annual expense of ₹500000 (US$7,900). In 2004, KoPT spent ₹6.5 million (US$100,000) to paint the entirety of 2.2 million square metres (24 million square feet) of the bridge. Two coats of aluminium paint, with a primer of zinc chromate before that, was applied on the bridge, requiring a total of 26,500 litres of paint.

The bridge is also considerably damaged by human spitting. A technical inspection by Port Trust officials in 2011 revealed that spitting had reduced the thickness of the steel hoods protecting the pillars from six to less than three millimeters since 2007. The hangers need those hoods at the base to prevent water seeping into the junction of the cross-girders and hangers, and damage to the hoods can jeopardize the safety of the bridge. KoPT announced that it will spend ₹2 million (US$32,000) on covering the base of the steel pillars with fibreglass casing to prevent spit from corroding them.

On 24 June 2005, a private cargo vessel M V Mani, belonging to the Ganges Water Transport Pvt. Ltd, while trying to pass under the bridge during high tide, had its funnel stuck underneath for three hours, causing substantial damage worth about ₹15 million to the stringer and longitudinal girder of the bridge. Some of the 40 cross-girders were also broken. Two of four trolley guides, bolted and welded with the girders, were extensively damaged. Nearly 350 metres of 700 metres of the track were twisted beyond repair. The damage was so severe that KoPT requested help from Rendall-Palmer & Tritton Limited, the original consultant on the bridge from UK. KoPT also contacted SAIL to provide 'matching steel' used during its construction in 1943, for the repairs. For the repair costing around ₹5 million (US$79,000), about 8 tonnes of steel was used. The repairs were completed in early 2006.

CULTURAL SIGNIFICANCE

The bridge has been shown in numerous films, such as Bimal Roy's 1953 film Do Bigha Zamin, Ritwik Ghatak's Bari Theke Paliye in 1958, Satyajit Ray's Parash Pathar in the same year, Mrinal Sen's Neel Akasher Neechey in 1959, Shakti Samanta's Howrah Bridge (1958), that featured the famous song Mera Naam Chin Chin Chu and China Town (1962) and Amar Prem (1971), Amar Jeet's 1965 Teen Devian in 1965, Mrinal Sen's 1972 National Award winning Bengali film Calcutta 71 and Sen's Calcutta Trilogy its sequel in 1973, Padatik, Richard Attenborough's 1982 Academy Award winning film Gandhi, Goutam Ghose's 1984 Hindi film Paar, Raj Kapoor's Ram Teri Ganga Maili in 1985, Nicolas Klotz's The Bengali Night in 1988, Roland Joffé's English language film City of Joy in 1992, Florian Gallenberger's Bengali film Shadows of Time in 2004, Mani Ratnam's Bollywood film Yuva in 2004, Pradeep Sarkar's 2005 Bollywood film Parineeta, Subhrajit Mitra's 2008 Bengali film Mon Amour: Shesher Kobita Revisited, Mira Nair's 2006 film The Namesake, Blessy's 2008 Malayalam Film Calcutta News, Surya Sivakumar's 2009 Tamil film Aadhavan, Imtiaz Ali's 2009 Hindi film Love Aaj Kal, Abhik Mukhopadhyay's 2010 Bengali film Ekti Tarar Khonje, Sujoy Ghosh's 2012 Bollywood film Kahaani, Anurag Basu's 2012 Hindi film Barfi!, Riingo Banerjee's 2012 Bengali film Na Hannyate, Rana Basu's 2013 Bengali film Namte Namte, and Ali Abbas Zafar's 2014 Hindi film Gunday and the 2015 YRF release from director Dibakar Banerjee's Detective Byomkesh Bakshy!also features some scenes on this iconic bridge.

WIKIPEDIA

India - West Bengal - Kolkata - Market At Howrah Bridge - 103 by Manfred Sommer

1

Howrah Bridge is a cantilever bridge with a suspended span over the Hooghly River in West Bengal, India. Commissioned in 1943, the bridge was originally named the New Howrah Bridge, because it replaced a pontoon bridge at the same location linking the two cities of Howrah and Kolkata (Calcutta). On 14 June 1965 it was renamed Rabindra Setu after the great Bengali poet Rabindranath Tagore, who was the first Indian and Asian Nobel laureate. It is still popularly known as the Howrah Bridge.

The bridge is one of two on the Hooghly River and is a famous symbol of Kolkata and West Bengal. The other bridges are the Vidyasagar Setu (popularly called the Second Hooghly Bridge), the Vivekananda Setu, and the newly built Nivedita Setu. It weathers the storms of the Bay of Bengal region, carrying a daily traffic of approximately 100,000 vehicles and possibly more than 150,000 pedestrians, easily making it the busiest cantilever bridge in the world. The third-longest cantilever bridge at the time of its construction, the Howrah Bridge is the sixth-longest bridge of its type in the world.

HISTORY

1862 PROPOSAL BY TURNBULL

In 1862, the Government of Bengal asked George Turnbull, Chief Engineer of the East India Railway Company to study the feasibility of bridging the Hooghly River — he had recently established the company's rail terminus in Howrah. He reported on 29 March with large-scale drawings and estimates that:

- The foundations for a bridge at Calcutta would be at a considerable depth and cost because of the depth of the mud there.

- The impediment to shipping would be considerable.

- A good place for the bridge was at Pulta Ghat "about a dozen miles north of Calcutta" where a "bed of stiff clay - A suspended-girder bridge of five spans of 400 feet and two spans of 200 feet would be ideal.

The bridge was not built.

PONTOON BRIDGE

In view of the increasing traffic across the Hooghly river, a committee was appointed in 1855-56 to review alternatives for constructing a bridge across it. The plan was shelved in 1859-60, to be revived in 1868, when it was decided that a bridge should be constructed and a newly appointed trust vested to manage it. The Calcutta Port Trust was founded in 1870, and the Legislative department of the then Government of Bengal passed the Howrah Bridge Act in the year 1871 under the Bengal Act IX of 1871, empowering the Lieutenant-Governor to have the bridge constructed with Government capital under the aegis of the Port Commissioners. Eventually a contract was signed with Sir Bradford Leslie to construct a pontoon bridge. Different parts were constructed in England and shipped to Calcutta, where they were assembled. The assembling period was fraught with problems. The bridge was considerably damaged by the great cyclone on 20 March 1874. A steamer named Egeria broke from her moorings and collided head-on with the bridge, sinking three pontoons and damaging nearly 200 feet of the bridge. The bridge was completed in 1874, at a total cost of ₹2.2 million, and opened to traffic on 17 October of that year. The bridge was then 1528 ft. long and 62 ft. wide, with 7-foot wide pavements on either side. Initially the bridge was periodically unfastened to allow steamers and other marine vehicles to pass through. Before 1906, the bridge used to be undone for the passage of vessels during daytime only. Since June of that year it started opening at night for all vessels except ocean steamers, which were required to pass through during daytime. From 19 August 1879, the bridge was illuminated by electric lamp-posts, powered by the dynamo at the Mullick Ghat Pumping Station. As the bridge could not handle the rapidly increasing load, the Port Commissioners started planning in 1905 for a new improved bridge.

PLANS FOR A NEW BRIDGE

In 1906 the Port Commission appointed a committee headed by R.S. Highet, Chief Engineer, East Indian Railway and W.B. MacCabe, Chief Engineer, Calcutta Corporation. They submitted a report stating that Bullock carts formed the eight-thirteenths of the vehicular traffic (as observed on 27 August 1906, the heaviest day's traffic observed in the port of Commissioners 16 days' Census of the vehicular traffic across the existing bridge). The roadway on the existing bridge is 48 feet wide except at the shore spans where it is only 43 feet in roadways, each 21 feet 6 inches wide. The roadway on the new bridge would be wide enough to take at least two lines of vehicular traffic and one line of trams in each direction and two roadways each 30 feet wide, giving a total width of 60 feet of road way which are quite sufficient for this purpose . . . . . The traffic across the existing floating bridge Calcutta & Howrah is very heavy and it is obvious if the new bridge is to be on the same site as the existing bridge, then unless a temporary bridge is provided, there will be serious interruptions to the traffic while existing bridge is being moved to one side to allow the new bridge to be erected on the same site as the present bridge.

The committee considered six options:

- Large ferry steamers capable of carrying vehicular load (set up cost ₹900,000, annual cost ₹437,000)

- A transporters bridge (set up cost ₹2 million)

- A tunnel (set up cost ₹338.2 million, annual maintenance cost ₹1779,000)

- A bridge on piers (set up cost ₹22.5 million)

- A floating bridge (set up cost ₹2140,000, annual maintenance cost ₹200,000)

- An arched bridge

The committee eventually decided on a floating bridge. It extended tenders to 23 firms for its design and construction. Prize money of £ 3,000 (₹45,000, at the then exchange rate) was declared for the firm whose design would be accepted.

PLANNING AND ESTIMATION

The initial construction process of the bridge was stalled due to the World War I, although the bridge was partially renewed in 1917 and 1927. In 1921 a committee of engineers named the 'Mukherjee Committee' was formed, headed by Sir R.N. Mukherjee, Sir Clement Hindley, Chairman of Calcutta Port Trust and J. McGlashan, Chief Engineer. They referred the matter to Sir Basil Mott, who proposed a single span arch bridge.

In 1922 the New Howrah Bridge Commission was set up, to which the Mukherjee Committee submitted its report. In 1926 the New Howrah Bridge Act passed. In 1930 the Goode Committee was formed, comprising S.W. Goode as President, S.N. Mallick, and W.H. Thompson, to investigate and report on the advisability of constructing a pier bridge between Calcutta and Howrah. Based on their recommendation, M/s. Rendel, Palmer and Tritton were asked to consider the construction of a suspension bridge of a particular design prepared by their chief draftsman Mr. Walton. On basis of the report, a global tender was floated. The lowest bid came from a German company, but due to increasing political tensions between Germany and Great Britain in 1935, it was not given the contract. The Braithwaite Burn and Jessop Construction Company Limited was awarded the construction contract that year. The New Howrah Bridge Act was amended in 1935 to reflect this, and construction of the bridge started the next year.

CONSTRUCTION

The bridge does not have nuts and bolts, but was formed by riveting the whole structure. It consumed 26,500 tons of steel, out of which 23,000 tons of high-tensile alloy steel, known as Tiscrom, were supplied by Tata Steel. The main tower was constructed with single monolith caissons of dimensions 55.31 x 24.8 m with 21 shafts, each 6.25 metre square. The Chief Engineer of the Port Trust, Mr. J. McGlashan, wanted to replace the pontoon bridge, with a permanent structure, as the present bridge interfered with North/South river traffic. Work could not be started as World War I (1914-1918) broke out. Then in 1926 a commission under the Chairmanship of Sir R. N. Mukherjee recommended a suspension bridge of a particular type to be built across the River Hoogly. The bridge was designed by one Mr. Walton of M/s Rendel, Palmer & Triton. The order for construction and erection was placed on M/s.Cleveland Bridge & Engineering Company in 1939. Again World War II (1939-1945 ) intervened. All the steel that was to come from England were diverted for war effort in Europe. Out of 26,000 tons of steel, that was required for the bridge, only 3000 tons were supplied from England. In spite of the Japanese threat the then (British) Government of India pressed on with the construction. Tata Steel were asked to supply the remaining 23,000 tons of high tension steel. The Tatas developed the quality of steel required for the bridge and called it Tiscom. The entire 23,000 tons was supplied in time. The fabrication and erection work was awarded to a local engineering firm of Howrah - The Braithwaite Burn & Jessop Construction Company. The two anchorage caissons were each 16.4 m by 8.2 m, with two wells 4.9 m square. The caissons were so designed that the working chambers within the shafts could be temporarily enclosed by steel diaphragms to allow work under compressed air if required. The caisson at Kolkata side was set at 31.41 m and that at Howrah side at 26.53 m below ground level.

One night, during the process of grabbing out the muck to enable the caisson to move, the ground below it yielded, and the entire mass plunged two feet, shaking the ground. The impact of this was so intense that the seismograph at Kidderpore registered it as an earthquake and a Hindu temple on the shore was destroyed, although it was subsequently rebuilt. While muck was being cleared, numerous varieties of objects were brought up, including anchors, grappling irons, cannons, cannonballs, brass vessels, and coins dating back to the East India Company. The job of sinking the caissons was carried out round-the-clock at a rate of a foot or more per day. The caissons were sunk through soft river deposits to a stiff yellow clay 26.5 m below ground level. The accuracy of sinking the huge caissons was exceptionally precise, within 50–75 mm of the true position. After penetrating 2.1 m into clay, all shafts were plugged with concrete after individual dewatering, with some 5 m of backfilling in adjacent shafts. The main piers on the Howrah side were sunk by open wheel dredging, while those on the Kolkata side required compressed air to counter running sand. The air pressure maintained was about 40 lbs per square inch (2.8 bar), which required about 500 workers to be employed. Whenever excessively soft soil was encountered, the shafts symmetrical to the caisson axes were left unexcavated to allow strict control. In very stiff clays, a large number of the internal wells were completely undercut, allowing the whole weight of the caisson to be carried by the outside skin friction and the bearing under the external wall. Skin friction on the outside of the monolith walls was estimated at 29 kN/m2 while loads on the cutting edge in clay overlying the founding stratum reached 100 tonnes/m. The work on the foundation was completed on November 1938.

By the end of 1940, the erection of the cantilevered arms was commenced and was completed in mid-summer of 1941. The two halves of the suspended span, each 86 m long and weighing 2,000 tons, were built in December 1941. The bridge was erected by commencing at the two anchor spans and advancing towards the center, with the use of creeper cranes moving along the upper chord. 16 hydraulic jacks, each of which had an 800-ton capacity, were pressed into service to join the two halves of the suspended span.

The entire project cost ₹25 million (£2,463,887). The project was a pioneer in bridge construction, particularly in India, but the government did not have a formal opening of the bridge due to fears of attacks by Japanese planes fighting the Allied Powers. Japan had attacked the United States at Pearl Harbor on December 7, 1941. The first vehicle to use the bridge was a solitary tram.

DESCRIPTION

SPECIFICATIONS

When commissioned in 1943, Howrah was the 3rd-longest cantilever bridge in the world, behind Pont de Québec (549 metres) in Canada and Forth Bridge (521 metres) in Scotland. It has since been surpassed by three bridges, making it the sixth-longest cantilever bridge in the world in 2013. It is a Suspension type Balanced Cantilever bridge, with a central span of 460 m between centers of main towers and a suspended span of 172 m. The main towers are 85 m high above the monoliths and 23 m apart at the top. The anchor arms are 99 m each, while the cantilever arms are 143 m each. The bridge deck hangs from panel points in the lower chord of the main trusses with 39 pairs of hangers. The roadways beyond the towers are supported from ground, leaving the anchor arms free from deck load. The deck system includes cross girders suspended between the pairs of hangers by a pinned connection. Six rows of longitudinal stringer girders are arranged between cross girders. Floor beams are supported transversally on top of the stringers, while themselves supporting a continuous pressed steel troughing system surfaced with concrete.

The longitudinal expansion and lateral sway movement of the deck are taken care of by expansion and articulation joints. There are two main expansion joints, one at each interface between the suspended span and the cantilever arms, and there are others at the towers and at the interface of the steel and concrete structures at both approach. There are total 8 articulation joints, 3 at each of the cantilever arms and 1 each in the suspended portion. These joints divide the bridge into segments with vertical pin connection between them to facilitate rotational movements of the deck. The bridge deck has longitudinal ruling gradient of 1 in 40 from either end, joined by a vertical curve of radius 1,200 m. The cross gradient of deck is 1 in 48 between kerbs.

TRAFFIC

The bridge serves as the gateway to Kolkata, connecting it to the Howrah Station, which is one of the four intercity train stations serving Howrah and Kolkata. As such, it carries the near entirety of the traffic to and from the station, taking its average daily traffic close to nearly 150,000 pedestrians and 100,000 vehicles. In 1946 a census was taken to take a count of the daily traffic, it amounted to 27,400 vehicles, 121,100 pedestrians and 2,997 cattle. The bulk of the vehicular traffic comes from buses and cars. Prior to 1993 the bridge used to carry trams also. Trams departed from the terminus at Howrah station towards Rajabazar, Sealdah, High Court, Dalhousie Square, Park Circus and Shyambazar. From 1993 the tram services on the bridge were discontinued due to increasing load on the bridge. However the bridge still continues to carry much more than the expected load. A 2007 report revealed that nearly 90,000 vehicles were plying on the bridge daily (15,000 of which were goods-carrying), though its load-bearing capacity is only 60,000. One of the main reasons of overloading was that although vehicles carrying up to 15 tonnes are allowed on the structure, vehicles with 12-18 wheels and carrying load up to 25 tonnes often plied on it. 31 May 2007 onwards, overloaded trucks were banned from plying on the bridge, and were redirected to the Vidyasagar Setu instead. The road is flanked by footpaths of width 15 feet, and they swarm with pedestrians.

MAINTENANCE

The Kolkata Port Trust (KoPT) is vested with the maintenance of the bridge. The bridge has been subject to damage from vehicles due to rash driving, and corrosion due to atmospheric conditions and biological wastes. On October 2008, 6 high-tech surveillance cameras were placed to monitor the entire 705 metres long and 30 metres wide structure from the control room. Two of the cameras were placed under the floor of the bridge to track the movement of barges, steamers and boats on the river, while the other four were fixed to the first layer of beams — one at each end and two in the middle — to monitor vehicle movements. This was in response to substantial damage caused to the bridge from collisions with vehicles, so that compensation could be claimed from the miscreants.

Corrosion has been caused by bird droppings and human spitting. An investigation in 2003 revealed that as a result of prolonged chemical reaction caused by continuous collection of bird excreta, several joints and parts of the bridge were damaged. As an immediate measure, the Kolkata Port Trust engaged contractors to regularly clean the bird droppings, at an annual expense of ₹500000 (US$7,900). In 2004, KoPT spent ₹6.5 million (US$100,000) to paint the entirety of 2.2 million square metres (24 million square feet) of the bridge. Two coats of aluminium paint, with a primer of zinc chromate before that, was applied on the bridge, requiring a total of 26,500 litres of paint.

The bridge is also considerably damaged by human spitting. A technical inspection by Port Trust officials in 2011 revealed that spitting had reduced the thickness of the steel hoods protecting the pillars from six to less than three millimeters since 2007. The hangers need those hoods at the base to prevent water seeping into the junction of the cross-girders and hangers, and damage to the hoods can jeopardize the safety of the bridge. KoPT announced that it will spend ₹2 million (US$32,000) on covering the base of the steel pillars with fibreglass casing to prevent spit from corroding them.

On 24 June 2005, a private cargo vessel M V Mani, belonging to the Ganges Water Transport Pvt. Ltd, while trying to pass under the bridge during high tide, had its funnel stuck underneath for three hours, causing substantial damage worth about ₹15 million to the stringer and longitudinal girder of the bridge. Some of the 40 cross-girders were also broken. Two of four trolley guides, bolted and welded with the girders, were extensively damaged. Nearly 350 metres of 700 metres of the track were twisted beyond repair. The damage was so severe that KoPT requested help from Rendall-Palmer & Tritton Limited, the original consultant on the bridge from UK. KoPT also contacted SAIL to provide 'matching steel' used during its construction in 1943, for the repairs. For the repair costing around ₹5 million (US$79,000), about 8 tonnes of steel was used. The repairs were completed in early 2006.

CULTURAL SIGNIFICANCE

The bridge has been shown in numerous films, such as Bimal Roy's 1953 film Do Bigha Zamin, Ritwik Ghatak's Bari Theke Paliye in 1958, Satyajit Ray's Parash Pathar in the same year, Mrinal Sen's Neel Akasher Neechey in 1959, Shakti Samanta's Howrah Bridge (1958), that featured the famous song Mera Naam Chin Chin Chu and China Town (1962) and Amar Prem (1971), Amar Jeet's 1965 Teen Devian in 1965, Mrinal Sen's 1972 National Award winning Bengali film Calcutta 71 and Sen's Calcutta Trilogy its sequel in 1973, Padatik, Richard Attenborough's 1982 Academy Award winning film Gandhi, Goutam Ghose's 1984 Hindi film Paar, Raj Kapoor's Ram Teri Ganga Maili in 1985, Nicolas Klotz's The Bengali Night in 1988, Roland Joffé's English language film City of Joy in 1992, Florian Gallenberger's Bengali film Shadows of Time in 2004, Mani Ratnam's Bollywood film Yuva in 2004, Pradeep Sarkar's 2005 Bollywood film Parineeta, Subhrajit Mitra's 2008 Bengali film Mon Amour: Shesher Kobita Revisited, Mira Nair's 2006 film The Namesake, Blessy's 2008 Malayalam Film Calcutta News, Surya Sivakumar's 2009 Tamil film Aadhavan, Imtiaz Ali's 2009 Hindi film Love Aaj Kal, Abhik Mukhopadhyay's 2010 Bengali film Ekti Tarar Khonje, Sujoy Ghosh's 2012 Bollywood film Kahaani, Anurag Basu's 2012 Hindi film Barfi!, Riingo Banerjee's 2012 Bengali film Na Hannyate, Rana Basu's 2013 Bengali film Namte Namte, and Ali Abbas Zafar's 2014 Hindi film Gunday and the 2015 YRF release from director Dibakar Banerjee's Detective Byomkesh Bakshy!also features some scenes on this iconic bridge.

WIKIPEDIA

SARKAR [ Fan-Made ] Poster #1 3000 × 2000 #SARKAR My Design. Design By, G.M.Surya Sarath GMS CREATION by Mersal Surya

2

It is #Thalapathy62 Movie #Sarkar's Fan-made Design.

SARKAR [ Fan-Made ] Poster #3 #SARKAR My Design. Design By, G.M.Surya Sarath GMS CREATION #Thalapathy #ThalapathyVijay #KeerthiSuresh by Mersal Surya

It is #Thalapathy62 Movie #Sarkar's Fan-made Design.

India - West Bengal - Kolkata - Hoogly River and Howrah Bridge by Manfred Sommer

The Howrah Bridge is a balanced cantilever bridge over the Hooghly River in West Bengal, India. Commissioned in 1943, the bridge was originally named the New Howrah Bridge, because it replaced a pontoon bridge at the same location linking the cities of Howrah and Kolkata (Calcutta). On 14 June 1965, it was renamed Rabindra Setu after the great Bengali poet Rabindranath Tagore, who was the first Indian and Asian Nobel laureate. It is still popularly known as the Howrah Bridge.

The bridge is one of four on the Hooghly River and is a famous symbol of Kolkata and West Bengal. The other bridges are the Vidyasagar Setu (popularly called the Second Hooghly Bridge), the Vivekananda Setu and the relatively new Nivedita Setu. It carries a daily traffic of approximately 100,000 vehicles and possibly more than 150,000 pedestrians, easily making it the busiest cantilever bridge in the world. The third-longest cantilever bridge at the time of its construction, the Howrah Bridge is currently the sixth-longest bridge of its type in the world.

HISTORY

1862 PTOPOSAL BY TURNBULL

In 1862, the Government of Bengal asked George Turnbull, chief engineer of the East Indian Railway Company to study the feasibility of bridging the Hooghly River. He had recently established the company's rail terminus in Howrah. He reported on 19 March, with large-scale drawings and estimates, that:

The foundations for a bridge at Calcutta would be at a considerable depth and cost because of the depth of the mud there.

The impediment to shipping would be considerable.

A good place for the bridge was at Pulta Ghat "about a dozen miles north of Calcutta" where a "bed of stiff clay existed at no great depth under the river bed".

A suspended-girder bridge of five spans of 122 m and two spans 61 m would be ideal.

PONTOON BRIDGE

In view of the increasing traffic across the Hooghly river, a committee was appointed in 1855–56 to review alternatives for constructing a bridge across it. The plan was shelved in 1859–60, to be revived in 1868, when it was decided that a bridge should be constructed and a newly appointed trust vested to manage it. The Calcutta Port Trust was founded in 1870, and the Legislative department of the then Government of Bengal passed the Howrah Bridge Act in the year 1871 under the Bengal Act IX of 1871, empowering the lieutenant-governor to have the bridge constructed with Government capital under the aegis of the Port Commissioners.

Eventually a contract was signed with Sir Bradford Leslie to construct a pontoon bridge. Different parts of the bridge were constructed in England and shipped to Calcutta, where they were assembled. The assembling period was fraught with problems. The bridge was considerably damaged by the great cyclone on 20 March 1874. A steamer named Egeria broke from her moorings and collided head-on with the bridge, sinking three pontoons and damaging nearly 200 feet of the bridge. The bridge was complete in 1874, at a total cost of ₹2.2 million, and opened to traffic on 17 October of that year. The bridge was then 1528 ft long and 62 ft wide, with 7-foot wide pavements on either side. Initially the bridge was periodically unfastened to allow steamers and other marine vehicles to pass through. Before 1906, the bridge used to be undone for the passage of vessels during daytime only. Since June of that year it started opening at night for all vessels except ocean steamers, which were required to pass through during daytime. From 19 August 1879, the bridge was illuminated by electric lamp-posts, powered by the dynamo at the Mullick Ghat Pumping Station.[9] As the bridge could not handle the rapidly increasing load, the Port Commissioners started planning in 1905 for a new improved bridge.

PLANS FOR A NEW BRIDGE

In 1906[8] the Port Commission appointed a committee headed by R.S. Highet, chief engineer, East Indian Railway and W.B. MacCabe, chief engineer, Calcutta Corporation. They submitted a report stating that Bullock carts formed the eight - thirteenths of the vehicular traffic (as observed on 27 August 1906, the heaviest day's traffic observed in the port of Commissioners 16 days' Census of the vehicular traffic across the existing bridge). The roadway on the existing bridge is 48 feet wide except at the shore spans where it is only 43 feet in roadways, each 21 feet 6 inches wide. The roadway on the new bridge would be wide enough to take at least two lines of vehicular traffic and one line of trams in each direction and two roadways each 30 feet wide, giving a total width of 60 feet of road way which are quite sufficient for this purpose [...]

The traffic across the existing floating bridge Calcutta & Howrah is very heavy and it is obvious if the new bridge is to be on the same site as the existing bridge, then unless a temporary bridge is provided, there will be serious interruptions to the traffic while existing bridge is being moved to one side to allow the new bridge to be erected on the same site as the present bridge.The committee considered six options:

Large ferry steamers capable of carrying vehicular load (set up cost ₹900,000, annual cost ₹438,000)

A transporters bridge (set up cost ₹2 million)

A tunnel (set up cost ₹338.2 million, annual maintenance cost ₹1,779,000)

A bridge on piers (set up cost ₹22.5 million)

A floating bridge (set up cost ₹2,140,000, annual maintenance cost ₹200,000)

An arched bridge

The committee eventually decided on a floating bridge. It extended tenders to 23 firms for its design and construction. Prize money of £3,000 (₹45,000, at the then exchange rate) was declared for the firm whose design would be accepted.

PLANNING AND ESTIMATION

The initial construction process of the bridge was stalled due to World War I, although the bridge was partially renewed in 1917 and 1927. In 1921 a committee of engineers named the 'Mukherjee Committee' was formed, headed by R. N. Mukherji, Sir Clement Hindley, chairman of Calcutta Port Trust and J. McGlashan, Chief Engineer. They referred the matter to Sir Basil Mott, who proposed a single span arch bridge. Charles Alfred O'Grady one of the Engineers

In 1922, the New Howrah Bridge Commission was set up, to which the Mukherjee Committee submitted its report. In 1926 the New Howrah Bridge Act passed. In 1930 the Goode Committee was formed, comprising S.W. Goode as president, S.N. Mallick, and W.H. Thompson, to investigate and report on the advisability of constructing a pier bridge between Calcutta and Howrah. Based on their recommendation, M/s. Rendel, Palmer and Tritton were asked to consider the construction of a suspension bridge of a particular design prepared by their chief draftsman Mr. Walton. On basis of the report, a global tender was floated. The lowest bid came from a German company, but due to increasing political tensions between Germany and Great Britain in 1935, it was not given the contract. The Braithwaite, Burn & Jessop Construction Co. was awarded the construction contract that year. The New Howrah Bridge Act was amended in 1935 to reflect this, and construction of the bridge started the next year

CONSTRUCTION

The bridge does not have nuts and bolts, but was formed by riveting the whole structure. It consumed 26,500 tons of steel, out of which 23,000 tons of high-tensile alloy steel, known as Tiscrom, were supplied by Tata Steel. The main tower was constructed with single monolith caissons of dimensions 55.31 m × 24.8 m with 21 shafts, each 6.25 metre square. The Chief Engineer of the Port Trust, Mr. J. McGlashan, wanted to replace the pontoon bridge, with a permanent structure, as the present bridge interfered with north–south river traffic. Work could not be started as World War I (1914–1918) broke out. Then in 1926 a commission under the chairmanship of Sir R. N. Mukherjee recommended a suspension bridge of a particular type to be built across the River Hoogly. The bridge was designed by one Mr. Walton of M/s Rendel, Palmer & Triton. The order for construction and erection was placed on M/s.Cleveland Bridge & Engineering Company in 1939. Again World War II (1939–1945) intervened. All the steel that was to come from England were diverted for war effort in Europe. Out of 26,000 tons of steel, that was required for the bridge, only 3000 tons were supplied from England. In spite of the Japanese threat, the then (British) government of India pressed on with the construction. Tata Steel were asked to supply the remaining 23,000 tons of high tension steel. The Tatas developed the quality of steel required for the bridge and called it Tiscom. The entire 23,000 tons was supplied in time. The fabrication and erection work was awarded to a local engineering firm of Howrah: the Braithwaite, Burn & Jessop Construction Co. The two anchorage caissons were each 16.4 m by 8.2 m, with two wells 4.9 m square. The caissons were so designed that the working chambers within the shafts could be temporarily enclosed by steel diaphragms to allow work under compressed air if required. The caisson at Kolkata side was set at 31.41 m and that at Howrah side at 26.53 m below ground level.

One night, during the process of grabbing out the muck to enable the caisson to move, the ground below it yielded, and the entire mass plunged two feet, shaking the ground. The impact of this was so intense that the seismograph at Kidderpore registered it as an earthquake and a Hindu temple on the shore was destroyed, although it was subsequently rebuilt. While muck was being cleared, numerous varieties of objects were brought up, including anchors, grappling irons, cannons, cannonballs, brass vessels, and coins dating back to the East India Company. The job of sinking the caissons was carried out round-the-clock at a rate of a foot or more per day. The caissons were sunk through soft river deposits to a stiff yellow clay 26.5 m below ground level. The accuracy of sinking the huge caissons was exceptionally precise, within 50–75 mm of the true position. After penetrating 2.1 m into clay, all shafts were plugged with concrete after individual dewatering, with some 5 m of backfilling in adjacent shafts. The main piers on the Howrah side were sunk by open wheel dredging, while those on the Kolkata side required compressed air to counter running sand. The air pressure maintained was about 40 lbs per square inch (2.8 bar), which required about 500 workers to be employed. Whenever excessively soft soil was encountered, the shafts symmetrical to the caisson axes were left unexcavated to allow strict control. In very stiff clays, a large number of the internal wells were completely undercut, allowing the whole weight of the caisson to be carried by the outside skin friction and the bearing under the external wall. Skin friction on the outside of the monolith walls was estimated at 29 kN/m2 while loads on the cutting edge in clay overlying the founding stratum reached 100 tonnes/m. The work on the foundation was completed in November 1938.

By the end of 1940, the erection of the cantilevered arms was commenced and was completed in mid-summer of 1941. The two halves of the suspended span, each 86 m long and weighing 2,000 tons, were built in December 1941. The bridge was erected by commencing at the two anchor spans and advancing towards the center, with the use of creeper cranes moving along the upper chord. 16 hydraulic jacks, each of which had an 800-ton capacity, were pressed into service to join the two halves of the suspended span.

The entire project cost ₹25 million (£2,463,887). The project was a pioneer in bridge construction, particularly in India, but the government did not have a formal opening of the bridge due to fears of attacks by Japanese planes fighting the Allied Powers. Japan had attacked the United States at Pearl Harbor on 7 December 1941. The first vehicle to use the bridge was a solitary tram.

The bridge is regarded "The Gateway to Kolkata, as it connects the city to Howrah Station".

DESCRIPTION

SPECIFICATIONS

When commissioned in 1943, Howrah was the 3rd-longest cantilever bridge in the world, behind Pont de Québec (549 metres) in Canada and Forth Bridge 521 metres in Scotland. It has since been surpassed by three bridges, making it the sixth-longest cantilever bridge in the world in 2013. It is a suspension type balanced cantilever bridge, with a central span 460 m between centers of main towers and a suspended span of 172 m. The main towers are 85 m high above the monoliths and 23 m apart at the top. The anchor arms are 99 m each, while the cantilever arms are 143 m each. The bridge deck hangs from panel points in the lower chord of the main trusses with 39 pairs of hangers. The roadways beyond the towers are supported from ground, leaving the anchor arms free from deck load. The deck system includes cross girders suspended between the pairs of hangers by a pinned connection. Six rows of longitudinal stringer girders are arranged between cross girders. Floor beams are supported transversally on top of the stringers, while themselves supporting a continuous pressed steel troughing system surfaced with concrete.

The longitudinal expansion and lateral sway movement of the deck are taken care of by expansion and articulation joints. There are two main expansion joints, one at each interface between the suspended span and the cantilever arms and there are others at the towers and at the interface of the steel and concrete structures at both approach. There are total 8 articulation joints, 3 at each of the cantilever arms and 1 each in the suspended portion. These joints divide the bridge into segments with vertical pin connection between them to facilitate rotational movements of the deck. The bridge deck has longitudinal ruling gradient of 1 in 40 from either end, joined by a vertical curve of radius 1,200 m. The cross gradient of deck is 1 in 48 between kerbs.

TRAFFIC

The bridge serves as the gateway to Kolkata, connecting it to the Howrah Station, which is one of the five intercity train terminus stations serving Howrah and Kolkata. As such, it carries the near entirety of the traffic to and from the station, taking its average daily traffic close to nearly 150,000 pedestrians and 100,000 vehicles. In 1946, a census of the daily traffic was taken, which counted 27,400 vehicles, 121,100 pedestrians and 2,997 cattle. The bulk of the vehicular traffic comes from buses and cars. Prior to 1993, the bridge also carried trams. Trams departed from the terminus at Howrah station towards Sealdah, Rajabazar, Shyambazar, High Court, Dalhousie Square, Park Circus, Ballygunge, Tollygunge etc. In 1993, tram service on the bridge was discontinued due to the increasing load on the structure. However, the bridge still continues to carry much more than the expected load. A 2007 report revealed that nearly 90,000 vehicles were plying on the bridge daily (15,000 of which were goods-carrying), though its load-bearing capacity is only 60,000. One of the main reasons for the overloading was that, although vehicles carrying up to 15 tonnes are allowed on the structure, vehicles with 12-18 wheels and carrying loads up to 25 tonnes often plied on it. From 31 May 2007 onwards, overloaded trucks were banned from crossing the bridge and were redirected to the Vidyasagar Setu instead. The road is flanked by footpaths 4.6 m wide, which are thronged with pedestrians.[

MAINTENANCE

The Kolkata Port Trust (KoPT) is vested with the maintenance of the bridge. The bridge has been subject to damage from vehicles due to rash driving, and corrosion due to atmospheric conditions and biological wastes. In October 2008, 6 high-tech surveillance cameras were placed to monitor the entire 705 metres long and 30 metres wide structure from the control room. Two of the cameras were placed under the floor of the bridge to track the movement of barges, steamers and boats on the river, while the other four were fixed to the first layer of beams — one at each end and two in the middle — to monitor vehicle movements. This was in response to substantial damage caused to the bridge from collisions with vehicles, so that compensation could be claimed from the miscreants.

Corrosion has been caused by bird droppings and human spitting. An investigation in 2003 revealed that as a result of prolonged chemical reaction caused by continuous collection of bird excreta, several joints and parts of the bridge were damaged. As an immediate measure, the Kolkata Port Trust engaged contractors to regularly clean the bird droppings, at an annual expense of ₹500,000 (US$6,300). In 2004, KoPT spent ₹6.5 million (US$81,000) to paint the entirety of 2.2 million square metres (24 million square feet) of the bridge. Two coats of aluminium paint, with a primer of zinc chromate before that, was applied on the bridge, requiring a total of 26,500 litres of paint.

The bridge is also considerably damaged by pedestrians spitting out acidic, lime-mixed stimulants (gutka and paan). A technical inspection by Port Trust officials in 2011 revealed that spitting had reduced the thickness of the steel hoods protecting the pillars from six to less than three millimeters since 2007. The hangers need those hoods at the base to prevent water seeping into the junction of the cross-girders and hangers, and damage to the hoods can jeopardize the safety of the bridge. KoPT announced that it will spend ₹2 million (US$25,000) on covering the base of the steel pillars with fibreglass casing to prevent spit from corroding them.

On 24 June 2005, a private cargo vessel M V Mani, belonging to the Ganges Water Transport Pvt. Ltd, while trying to pass under the bridge during high tide, had its funnel stuck underneath for three hours, causing substantial damage worth about ₹15 million to the stringer and longitudinal girder of the bridge. Some of the 40 cross-girders were also broken. Two of four trolley guides, bolted and welded with the girders, were extensively damaged. Nearly 350 metres of 700 metres of the track were twisted beyond repair. The damage was so severe that KoPT requested help from Rendall-Palmer & Tritton Limited, the original consultant on the bridge from UK. KoPT also contacted SAIL for 'matching steel' used during its construction in 1943. For the repair, which cost around ₹5 million (US$63,000), about 8 tonnes of steel was used. The repairs were completed in early 2006.

CULTURAL SIGNIFICANCE

The bridge has been shown in numerous films, such as Bimal Roy's 1953 film Do Bigha Zamin, Ritwik Ghatak's Bari Theke Paliye in 1958, Satyajit Ray's Parash Pathar in the same year, Mrinal Sen's Neel Akasher Neechey in 1959, Shakti Samanta's Howrah Bridge (1958), that featured the famous song Mera Naam Chin Chin Chu and China Town (1962) and Amar Prem (1971), Amar Jeet's 1965 Teen Devian in 1965, Mrinal Sen's 1972 National Award winning Bengali film Calcutta 71 and Sen's Calcutta Trilogy its sequel in 1973, Padatik, Richard Attenborough's 1982 Academy Award winning film Gandhi, Goutam Ghose's 1984 Hindi film Paar, Raj Kapoor's Ram Teri Ganga Maili in 1985, Nicolas Klotz's The Bengali Night in 1988, Roland Joffé's English language film City of Joy in 1992, Florian Gallenberger's Bengali film Shadows of Time in 2004, Mani Ratnam's Bollywood film Yuva in 2004, Pradeep Sarkar's 2005 Bollywood film Parineeta, Subhrajit Mitra's 2008 Bengali film Mon Amour: Shesher Kobita Revisited, Mira Nair's 2006 film The Namesake, Blessy's 2008 Malayalam Film Calcutta News, Surya Sivakumar's 2009 Tamil film Aadhavan, Imtiaz Ali's 2009 Hindi film Love Aaj Kal, Abhik Mukhopadhyay's 2010 Bengali film Ekti Tarar Khonje, Sujoy Ghosh's 2012 Bollywood film Kahaani, Anurag Basu's 2012 Hindi film Barfi!, Riingo Banerjee's 2012 Bengali film Na Hannyate, Rana Basu's 2013 Bengali film Namte Namte, and Ali Abbas Zafar's 2014 Hindi film Gunday and the 2015 YRF release from director Dibakar Banerjee's Detective Byomkesh Bakshy!. Shoojit sircar's "Piku" also features some scenes on this iconic bridge. The bridge was also featured in Garth Davis' Academy Award-nominated 2016 film Lion.

WIKIPEDIA

City Landmark – Chiki Sarkar’s New Publishing House, Near Kamal Nursery by Mayank Austen Soofi

A star is born. Click here to read at The Delhi Walla.

WOW! Kajol and Ajay Devgn to come together for Pradeep Sarkar's next by Ansar Siddiqui

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WOW! Kajol and Ajay Devgn to come together for Pradeep Sarkar’s next

From Ishq to Pyaar To Hona Hi Tha, Kajol and Ajay Devgn won the hearts of the audience with their on-screen chemistry. Soon, the reel life couple turned into real life couple and the rest, they say, is history. Now, there is an exciting news for the Ajay Devgn and Kajol fans which will make their day.

Ajay Devgn and Kajol are all set to return to the big screen with Pradeep Sarkar’s next. According to the recent reports, the film was touted to be a slice of life film which was initially going to be made by ad filmmaker Raj Sarthi. However, the film did not happen at the time.

Ajay Devgn confirmed it recently that Pradeep Sarkar will now revive the film as the director with him and Kajol in the lead roles. The two were last seen together in Ajay’s debut directorial, Toonpur Ka Superhero.

Meanwhile, Ajay Devgn is currently gearing up for Milan Luthria’s heist drama Baadshaho with Emraan Hashmi, Esha Gupta, Ileana D’cruz, Vidyut Jammwal, Sanjay Mishra. The film is scheduled to release on September 1, 2017. Kajol, on the other hand, has made her comeback into Tamil cinema after nearly two decades with Dhanush starrer Velai Illa Pattadhari 2 aka VIP 2.

WOW! Kajol and Ajay Devgn to come together for Pradeep Sarkar’s next

Director Sudeep Ranjan Sarkar and Bappi Lahiri at the Umformung poster and book launch event at Bora Bora..1 by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

Mudasir Ali, Dillzan Wadia, Bappi Lahiri, director Sudeep Ranjan Sarkar and Aamir Dalvi at the Umformung -- The Transformation event at Bora Bora Club by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

Netherfield Ball – Publisher Chiki Sarkar's Secret Remained a Secret at Journalist Madhu Jain's Anniversray Bash by Mayank Austen Soofi

3

The party secrets. Click here to read at The Delhi Walla.

Director Sudeep Ranjan Sarakar and Producer Rita Jhawar at the Umformung poster and book launch event at Bora Bora by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

6 Days To Go Sarkar's #OruViralPuratchi🔥 #ThalapathyVIJAY Actor Vijay #ARMurugadoss Gajan #6DaysForSarkar #SarkarDiwali #Sarkar by Mersal Surya

1

City Landmark – Chiki Sarkar’s New Publishing House, Near Kamal Nursery by Mayank Austen Soofi

A star is born. Click here to read at The Delhi Walla.

Sanjib Sarkar, Kushan Nandy, director Sudeep Ranjan Sarkar, Rita Jhawar and Sushil Bhosale at the Umformung -- The Transformation event at Bora Bora Club - Copy by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

Parijat Chakraborty, Neha Kapoor, Dillzan Wadia, director Sudeep Ranjan Sarkar and Aamir Dalvi at the Umformung poster and book launch event at Bora Bora by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

Director Sudeep Ranjan Sarkar and Bappi Lahiri at the Umformung poster and book launch event at Bora Bora... by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

Sarkar_Sudipto_2012 by University of Wisconsin Oshkosh

Sudipto Sarkar's headshot, 2012.

Parijat, Sanjib Sarkar, Neha Kapoor, Aamir Dalvi, director Sudeep Ranjan Sarkar, Dillzan Wadia, Rita Jhawar and Sushil Bhosale at the Umformung --- The Transformation event at Bora Bora Club - Copy by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

Mudasir Ali, K K Goswami and Dillzan Wadia at the Umformung poster and book launch event at Bora Bora by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

Kumar Mohan with (l to R) Parijat, Sushil Bhosale, Yogesh Anand of Reincarnation India, dir Sudeep Ranjan Sarkar, producer Rita Jhawar and Neha Kapoor at the Umformung -- The Transformation event by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

Director Sudeep Ranjan Sarkar and Bappi Lahiri at the Umformung poster and book launch event at Bora Bora.... by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

Director Sudeep Ranjan Sarkar, Shaleen Bhanot and Bappi Lahiri at the Umformung poster and book launch event at Bora Bora...... by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

Director Kushan Nandy at the Umformung poster and book launch event at Bora Bora by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

Neha Kapoor, director Sudeep Ranjan Sarkar, Sushil Bhosale, Bappi Lahiri and Parijat Chakraborty at the Umformung poster and book launch event at Bora Bora by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

Dillzan Wadia, Neha Kapoor, director Sudeep Ranjan Sarkar, Gaurav Chopra, Parijit Chakraborty, Aamir Dalvi, Shaleen Bhanot and Mudasir Ali at the Umformung poster and book launch event at Bora Bora by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

Parijat Chakraborty, Sushil Bhosale, Neha Kapoor, Bappi Lahiri, director Sudeep Ranjan Sarkar, producer Rita Jhawar and music director Sanjib Sarkar at the Umformung poster and book launch event by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

K K Goswami, Bappi Lahiri,Mudasir Ali,Dillzan Wadia, producers Saharsh Khaitan & Rita Jhawar, Aamir Dalvi, director Sudeep Ranjan Sarkar and Sushil Bhosale at the Umformung poster and book launch even by Anusha Iyer

Not long ago, criminal psychologist-filmmaker Sudeep Ranjan Sarkar’s Hindi feature film Umformung – The Transformation made news when monks and sex workers came together under one roof at Kolkata to watch the film. Now, Mumbai witnessed a celeb-studded Poster Launch of the film that speaks of equality among all of God’s creations. Besides Director Sudeep Ranjan Sarkar and Producers Rita Jhawar and Saharsh Khaitan, music director Sanjib Sarkar, actors Sushil Bhosale, Neha Kapoor, Parijat Chakraborty, Yogesh Anand of Reincarnation India, present at the do at Bora Bora Club in Andheri West were chief guest Bappi Lahiri, and celebs Shaleen Bhanot, Mudasir Ali, Gaurav Chopra, Aamir Dalvi, K K Goswami, among others.

The story of intense dimensions, two parallel stories juxtaposed in one world Umformung – The Transformation is about a Buddhistmonk in search of the ultimate truth on one hand, and a ruthless entrepreneur who knows that power is the ultimate truth on the other.

Languid and unbiased, the film unfolds as Karma unfolds. The journey of the monk from the idyllic monastery set in the mountains to prostitutes at a city brothel and his movement into the path of self-actualisation, alongside the transformation of the builder when life comes half way to meet her on her path of self-destruction, forms the crux of Umformung – The Transformation.

And that is all that Dr. Sudeep Ranjan Sarkar set to achieve along with social entrepreneurs Rita Jhawar and Saharsh Khaitan, when he made his maiden film based on Buddhist principles. Umformung – The Transformation, interestingly, the film is the winner of Best Story – Indian Cine Film Festival, Best Background Score – Noida International Film Festival, Best Director and Best Background Music –10th Free Spirit Festival, Merit for Newcomer Director – World Film Award, and Merit for International Film – World Film Award, Jakarta, Best Background Score – 5th Dadasaheb Phalke Film Festival, Official Selection – 4th Washington DC South Asian Film Festival, Maverik Movie Awards, Khajuraho International Film Festival, Miami Independent Film Festival among others. Umformung – The Transformation is distributed by Yogesh Anand Reincarnation India.

Unfazed by the accolades and worldwide acclaim, Sarkar is humble. “Umformung – The Transformation isn’t just a film for me. It is a marriage of poetry, philosophy of life and a painting of moving images,” confesses the director, adding that the diverseness of the audiences of the screening was a simple way to illustrate the open arms of Gautam Buddha and his tenets.

“Guided by Senior Rimpoche from McLeodgunj, Himachal Pradesh from His Holiness Dalai Lama’s temple, the film looks at Buddhism as a way of life and how detachment is the ultimate truth. A sex worker in that sense is no different from any of us in the so called respectable society, and by her straightforwardness and honest approach to life, is actually an inspiration to a monk to find Nirvana!”

Now that is one concept we are looking forward to see on celluloid!

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