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How Salt Lake was born

Birthday special

Chief minister Bidhan Chandra Roy and Ajay Mukherjee inaugurating the Salt Lake reclamation scheme on April 16, 1962. A Telegraph file picture

It has been 22 years since he retired as administrator of Salt Lake Reclamation and Development Project, having handed over the reins of the township to the newly formed Bidhannagar Municipality the year before, but Pran Kishore Chatterjee still has data related to the formative years of Salt Lake at his fingertips.

Seated in his AD Block home, the 80-year-old reminisces about the time when chief minister Bidhan Chandra Roy visualised founding the Calcutta Eastern Garden Suburb. “The city was bound on the west by the river, the southern fringes were becoming refugee colonies which would have been tough to dislodge. So the east was the only direction to expand. He had once travelled by launch till the house of Hem Chandra Naskar (former Calcutta mayor) near Mahisbathan and I have heard it was during that voyage that the idea came to him.”

The idea was to reclaim about 6 sq miles of the marshland by dredging the bed of river Hooghly and pumping in the slush. An estimated 124 crore cubic feet of earth would be needed to raise the area to +12. This was a unit followed by the public works department to determine how much higher the land level of a place would be compared to the Hooghly water level. “Salt Lake was originally a low-lying saucer-shaped area, where the waste of Dum Dum Park and Bangur would be drained. That also helped pisciculture practised here. The area was now to be raised to a level high enough to ensure that it would never suffer inundation. That is why Sector I and most parts of Sector II have no need for drainage pumping. Water naturally gravitates to Kestopur Canal. A drainage pumping station was built much later for Sector III opposite Nicco Park when the area was found to be too far from Kestopur Canal. The Eastern Drainage Canal was excavated for the purpose.”

The dredging started on April 16, 1962 and 11 floating units (two dredgers, two tug pusher boats, two bergs and two survey launches and three boosting stations) were deployed.

A survey had earlier been done on the Hooghly to check where the riverbed level was highest. A shoal at Ghushuri, near Chitpore Lockgate, was deemed the closest. That is where the dredging started. Using a booster pump, the slush was sent to Ultadanga, near Golaghata. The soil would be dumped at the site while the water would be drained into Kestopur Canal.

By 1967, about 90-95 per cent dredging was done. By then, the young engineer had participated in the government’s Re 1 lottery for distribution of plots in 1965 and got three cottahs at Rs 2,750 per cottah. “We used to stay in Jodhpur Park then. Since there was no transport, the Salt Lake Project ran a bus from Ultadanga crossing just to show prospective buyers how the area was developing. Still there was little interest as people thought houses built on a bed of sand would sink.”

One day, he brought his wife and father-in-law to show the plot. “A few houses dotted the expanse amid dense overgrowths of bulrushes. There was not a single tree in sight. The wind blew sand into the eyes and nostrils. I still remember my father-in-law’s sombre face when he set foot here.”

The Chatterjees did move into their newly built house in 1979 and stayed for two-three years before he was transferred. They settled permanently in 1988. He took over as administrator the year after. The Bidhannagar Notified Area Authority came into being in 1990.

Pran Kishore Chatterjee at his AD Block residence on Wednesday. (Sudeshna Banerjee)

“Initially when we were planting trees, we avoided fruit-bearing trees so that there would be no disputes over the fruits. But that kept the birds away. So we changed our decision and planted mango, wood-apple, jamun later.” Another lesson learnt along the way was keeping space for cooperatives and not just individual plots. “That is why you see all the cooperative complexes in Sector III which was the last to come up.”

Three types of roads were planned — arterial, spinal and local i.e. inside blocks varying in width from 48.46m to 9.14m. Interestingly, First Avenue is not the widest because it was never meant to be the primary gateway it has become.

“Second Avenue was supposed to be the arterial road. But when dredging started the familes that stayed in the area relocated to the highland which later became Duttabad slum. We never bothered about them then as we could carry out our work. But later when their presence blocked the exit from Second Avenue to the Bypass, an alternative exit had to be found in CA Block.”

He takes a lot of pride in pointing out that 23 per cent space was kept for roads. “At that time, the figure was barely 7 per cent for Calcutta.”

And though New Town was born long after his retirement, he likes to believe he made a contribution there too. “Gautam Deb (then the chairman of Hidco and the housing minister) had sought my advice. I told him not to repeat the mistake made with Salt Lake where no one from outside could make out how the township was developing. I asked him to first curve out a road to the airport through the project area so that people could see the development being undertaken,” he smiles.

DID YOU KNOW?

Originally 15sq km of marshy land was supposed to be reclaimed. But there was hue and cry about drainage getting clogged so Nalban and Chinta Singh Bheri were left out and the remaining 12.35sq km was reclaimed.

source: http://www.telegraphindia.com / The Telegraph,Calcutta,India / Home> Calcutta / by Sudeshna Banerjee / April 13th, 2018

Textiles ministry pitches for GI tag for more Bengali sarees

The Bengali Jamdani does not have a GI tag yet. Here, a weaver at the pit loom works on a Jamdani print at a factory in Kana, West Bengal. File photo. | Photo Credit: Sushanta Patronobish

So far, only three types of sarees from West Bengal — Baluchari, Santipur and Dhaniakhali have obtained the GI tags.

The textiles committee of the Union Ministry of Textiles has asked the various weaving communities of West Bengal to apply for the Geographical Indication (GI) tag for Intellectual Property Rights (IPR) protection.

So far, only three types of sarees from West Bengal — Baluchari, Santipur and Dhaniakhali have obtained the GI tags.

“We are asking the different weaving communities of West Bengal to go for GI registration. Some of them are the weavers of Bengali Jamdani, Begumpuri and Bengali Tangail sarees which have huge export markets,” deputy director of the Textiles Committee of the textiles ministry T.K. Rout told PTI.

The weavers of scarves and stoles of Fulia should also apply for GI registration, he said.

Mr. Rout said that once these weaving communities get the GI tag, their IPR would be protected and legal action could be initiated against those who were not bonafide claimaints of these textile products. “Even the export markets of these products would be protected,” he said.

“GI is IPR which provides protection to the products which have origins in a particular geographical location and different from patents and trademarks,” Mr. Rout added

It also gives protection to those weaving communities from counterfeit claims by others, he said adding that the ministry was working to facilitate this process.

As of date, 270 products of the country had been registered under the GI Act, out of which 151 of those belong to the textiles and handicrafts segment.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Kolkata / by PTI / Kolkata – March 16th, 2018

Calcutta boy’s haveli hotel in Bikaner

Forefather’s legacy reinvented with honesty of heritage

Golpark:

A Calcuttan whose forefathers had migrated to the city from Rajasthan more than 150 years ago has returned to his roots to turn an ancestral haveli into a boutique hotel.

Bhanwar Niwas, one of the famous mansions owned by the Rampuria clan, stands in the old walled city of Bikaner. The haveli had been built in the late 1920s by Seth Bhanwarlal Rampuria, heir to a textile and real estate fortune in Calcutta. It became a boutique hotel in 1993 at the initiative of Bhanwarlal’s grandson, 61-year-old Sunil Rampuria.

Sunil, an alumnus of La Martiniere for Boys and St Xavier’s College, is now based in Bikaner but keeps visiting Calcutta, which he calls “home” and where his parents and in-laws remain.

“The Calcutta I grew up in has made me the person I am. The city is steeped in tradition but that has not stopped it from being liberal. Calcutta moulds you,” Sunil said.

He remembers going to a kindergarten school on Royd Street that used to be run by a Spanish woman and an Iraqi man. “I always wondered why their surnames were different. Back then, living in was not a common thing,” he quipped.

Sunil had sold a house in Vizag, where he had worked in a construction company for several years, to fund the facelift of Bhanwar Niwas.

Although the property is more than 90 years old, it did not need much renovation. The architecture of the three-storey mansion is a mix of Indian and European styles with a majestic facade and a sprawling courtyard in the middle. Multiple staircases and large rooms complete the heritage look.

“People from my native place came to work in Calcutta and eventually settled down. But there were relatives back home. They built large houses because they were a status symbol,” Sunil told Metro before returning to Bikaner last weekend.

Several bhujia makers in the city trace their roots to Bikaner. The Rampurias are one of the oldest among these clans with several havelis spread among Sunil’s distant relatives.

His great grandmother lived there until 1988. Sunil left Calcutta in 1992 when he was 27 and started the project the same year. He was married with three children and his parents were apprehensive about the decision because of the risks.
In Bikaner, people were surprised that Sunil was reversing a trend. While his forefathers had migrated from a provincial town to a booming business centre, he was returning from Calcutta.

Before the hotel opened, Sunil made changes like carving attached bathrooms out of the large rooms. He did the stencil-painted wallpapers himself.

The hotel has done well over the years. “I don’t have go to Delhi to solicit business,” Sunil said.

Bhanwar Niwas offers a wholesome period experience in its own way. It is located in the middle of a locality and guests can see people celebrate local festivals. There are no TVs in the rooms because Sunil wanted to be “faithful to the period when the mansion was built”.

It is hard to miss the connection with the Best Exotic Marigold Hotel, the 2012 film about a young Sonny Kapoor (played by Dev Patel) who wants to realise his father’s dream of restoring a grand hotel in Jaipur.

Sunil downplays the comparison, but is proud that his eldest son Prashant now looks after Bhanwar Niwas.

Calcutta is dotted with centuries-old buildings that are caught in the conservation conundrum.

A little over a month ago, the Calcutta Municipal Corporation allowed the building that housed the old Kenilworth Hotel to be demolished by its present owners after downgrading its heritage status. Heritage conservationists alleged a builder-official nexus.

Metro reported last week that Tripura House, the stately Ballygunge Circular Road mansion, will have a residential highrise share a portion of its 100-cottah compound after the West Bengal Heritage Commission gave its nod to a project rejected by the civic body.

Heritage has to be relevant to make conservation viable, Aishwarya Tipnis, an architect working on French heritage structures in Chandernagore, said in a lecture at the Indian Museum last Wednesday. “Conservation is no rocket science. It is far from a NASA code that can’t be cracked,” she said.

Sunil seems to have cracked the code.

source: http://www.telegraphindia.com / The Telegraph,Calcutta,India / Home> Calcutta / by Debraj Mitra / April 12th, 2018

Shooting silver and a promise to ‘sir’

Coach relives olympic medal miss in ward’s Commonwealth shoot-off

Mehuli Ghosh after shooting a bullseye to tie with the eventual winner, Martina Lindsay Veloso of Singapore. (Reuters)

Calcutta:

The shot at gold in the women’s 10m air rifle event at the Commonwealth Games was down to two competitors. Martina Lindsay Veloso of Singapore had just scored 10.4 in her final shot and nothing less than a bullseye would give her rival a chance. Mehuli Ghosh hit exactly that: a 10.9.

The crowd erupted as Mehuli pumped a fist, kept her rifle down, took off her blinder and stepped back from her position. Thousands of miles away, in New Town, her coach Joydeep Karmakar yelled at the TV: ” Hoyni (It’s not over)!”

Martina and Mehuli were tied at 247.2, a new Games record, and the gold was to be decided by a shoot-off.

Joydeep, who himself missed an Olympic medal at the London Games by a whisker, knew it would be tough for his ward. “It’s not easy to quickly regain position. The body has to be aligned with the target and weight distributed between outstretched legs for perfect balance. This is achieved over several shots,” he told Metro within minutes of Mehuli finishing second.

When she called, the first word Mehuli uttered to her coach was “sorry”.

“She told me, ‘ Jani tumi rege gyachho (I know you are upset)’. I told her I was about to break the TV,” Joydeep said.

Mehuli had been misled by her name overtaking Martina’s on the scoreboard. “She missed the rank ‘1’ against both names and the term ‘s-off’ to the right,” Joydeep said.

Mehuli scored 9.9 to Martina’s 10.3 in the shoot-off. “If only I were there, I would have shouted out to her about the tie,” the disappointed coach said.

But he had regained his composure quickly enough not to make his ward feel any more miserable about missing the gold. “What happened was because of inexperience. She is just 17. Girls her age chat and have fun after school while she is hard at practice,” he said. “Mehuli has promised me she will make up for the loss.”

As the nation woke up to the Baidyabati girl’s feat, mother Mitali spoke of the two-hour journey, with four changes of transport, she makes almost daily to reach Joydeep’s academy at The Newtown School.

“This has been her routine since she was 14,” she said.

To let her focus on shooting, Mitali had even allowed her daughter to skip the board exam this year.

source: http://www.telegraphindia.com / The Telegraph,Calcutta,India / Home> Calcutta / by Sudeshna Banerjee / April 10th, 2018

Leander Paes — Timeless wonder

Leander Paes. | Photo Credit: PTI

A look at the career highs of Leander Paes.

1990: Starts his Davis Cup career at the age of 16, with Zeeshan Ali his first doubles partner.

1991: Wins junior titles at the US Open and Wimbledon to become Junior World number 1.

1995: Ranked No. 130, manages to beat World No.7 Goran Ivanisevic in a five-setter on grass in the Davis Cup.

1996: At the Atlanta Olympics, beats Fernando Meligeni to win India’s first individual bronze in 44 years.

1998: Bags the Newport ATP title and beats Pete Sampras at New Haven.

1999: Along with Mahesh Bhupathi reaches the finals of all four Grand Slams, winning Wimbledon and French Open. Reaches the No.1 ranking in doubles.

2000: Given the honour of carrying the Indian flag at the Sydney Olympics.

2003: Wins the mixed doubles events at the Australian Open and Wimbledon partnering the legendary Martina Navratilova.

2006: Leads the Indian tennis contingent at the Doha Asian Games. Bags two golds with Mahesh Bhupathi and Sania Mirza.

2013: Clinches the US Open doubles title with Radek Stepanek to become the oldest male Grand Slam winner at 40. Bestowed the country’s third-highest civilian award, the Padma Bhushan.

2016: Secures his 42nd Davis Cup doubles win (partner Rohan Bopanna) with a victory over South Korea. Ties with Italian Nicola Pietrangeli for the all-time record.

2018: Claims a record-breaking 43rd Davis Cup doubles win in the Asia Oceania Group I tie against China. Paes also has the most number of wins (doubles and singles combined) among active players at 91.

source: http://www.thehindu.com / The Hindu / Home> Sport> Tennis / April 08th, 2018

Meet the RJ who is making it fashionable to speak Santali

Santal people performing a traditional dance. | Photo Credit: PTI

While Bengal has more than two million Santali speakers, the number is dwindling
The onset of spring has dressed Jhargram, the district on the western corner of West Bengal, in the flaming colours of the palash flower. The flowers of the mahua tree are also scattered everywhere; women are collecting them in buckets to brew wine as the sun dips into the horizon. The radio is on to keep them company, tuned in to Radio Milan, 90.4 FM where RJ Shikha Mandi is hosting a programme called ‘Johar Jhargram’ (Greetings, Jhargram), which focuses on Santali language and culture.

A man, speaking in Bengali, calls in with a request for a Santali song. The RJ urges him to speak in Santali since, it turns out, the caller is Santali. The man says he understands Santali but can’t speak it properly. Mandi’s enthusiastic voice asserts that it’s better to speak broken Santali than not to speak it at all. It’s their mother tongue after all.

Santals are the largest tribal community in Bengal, which has more than two million Santali speakers. The language was included as an official language in the eighth schedule of the Constitution in 2003, but only a few schools in Bengal use it as the medium of instruction.

Best interests
The Bengali-speaking population of Jhargram also tends to look down upon the language and the community. “We speak Santali among ourselves. The Bengalis here don’t know our language, and it’s in our interest to learn to speak Bengali — most businesses here are owned by Bengalis,” says Shibu Soren of Kalaboni village near Jhargram town, taking a sip of mahua wine.

Given such realities, it is not surprising that the number of Santali speakers is dwindling. Outside Bengal, Santali is spoken in Jharkhand, Bihar, Odisha, and some parts of Tripura.

It’s in this milieu that the twenty-four-year old Mandi of Radio Milan has been trying to make Santali fashionable. From the Santali community herself, Mandi has lived most of her life in Kolkata, but returned to Jhargram after completing her studies to become an RJ. In the few months of its existence, the programme she hosts, ‘Johar Jhargram’, has become hugely popular, crossing the boundaries of Jhargram to reach Kolkata, which may be only five hours away but far removed culturally and linguistically. People also tune in to ‘Johar Jhargram’ from different parts of India, Canada and the U.K. on a mobile app.

Mandi says it’s her bitterness at being seen as ‘inferior’ by her Bengali classmates in her Kolkata school that inspired her to take up the cause of Santali.

“I was often dismissed as a tribal, and for slipping into Santali in school. I made it a rule to never speak Santali outside the four walls of home.”

Shikha Mandi | Photo Credit: Ashok Nath Dey

Mandi was born in Belpahari, 40 km from Jhargram, and sent to Kolkata for schooling when she was four. In Jhargram, regular classes would have been impossible. Part of the Red Corridor, the area has seen a lot of Maoist violence in the last two decades.

Mandi’s two-hour radio pragramme, which airs between 4:00 and 6:00 pm from Monday to Saturday, takes up different issues relevant to the community — from education and child labour to traditional harvest festivals.

Songs are played in between; listeners call in and participate, sometimes in Bengali, but Mandi responds in Santali. Mandi’s accent is itself imbued with traces of Bengali, but she has been reading and writing Santali and talking to native speakers to improve her skills. “But in truth,” she says, “no one now knows the language as well as our grandparents do.”

Most parents, in fact, discourage their children from speaking Santali because only Bengali and English can fetch them jobs.

Quiet optimism
Arun Kumar Ghosh teaches at Burdwan University. He has been working on Santali language for three decades now. “It is one of the world’s oldest languages,” he says, “and, interestingly, it still preserves linguistic features that are as old as 150 years.” There is a growing interest in the world outside the Santali community to study the language and absorb the culture, but the community is hesitant to let this happen. “The low literacy within the community is a major cause behind this unwillingness,” says Ghosh.

But the younger generation is slowly beginning to embrace the mother tongue. Usha Soren from Kalaboni tells me while cleaning her courtyard that she sends her son to a Santali language teacher twice a week so that he learns to write in the Ol Chiki script.

Young people like Mandi want to learn about their history and culture in Santali rather than in Bengali. They want to learn to be a Santal in Santali language. Ghosh is optimistic that programmes like ‘Johar Jhargram’, which bring entertainment and information in Santali, can go a long way towards mainstreaming the language.

A journalist based in Uttarakhand, the writer explores the lives of those who walk mountains.

source: http://www.thehindu.com / The Hindu / Home> Inside India> Society / by Arpita Chakrabarty / April 07th, 2018

Kolkata girl nominated for global sci-fi award

Kolkata :

Writer, editor and Jadavpur University alumna Mimi Mondal has been nominated for the 2018 Hugo Awards for co-editing her first science fiction book — the anthology ‘Luminescent Threads’. The 30-year-old, who hails from Kolkata,is the first from the city to be nominated for the top honour in science fiction. Previous Hugo nominees include names like Arthur C Clarke, Isaac Asimov and Neil Gaiman. Her fellow nominee in the Best Related Works category is the late Ursula K Le Guin.

“I am not an outlier genius. I am completely homegrown and following the path of my elders. Growing up in Kolkata, I read very little purely generic science fiction. And honestly, I taught myself English from a dictionary so I didn’t see people like myself in the worlds written by white, male writers. What I did grow up reading, and this is where we Bengalis have an advantage, was a lot of Dakshinaranjan Mitra Majumdar, Satyajit Ray, Premendra Mitra, Rabindranath Tagore, Narayan Gangopadhyay, Lila Majumdar and Sunil Gangopadhyay… I read them all,” says Mondal, who lives in New York now.

The writer in her emerged in her teens when Mondal studied at Nava Nalanda and then at Calcutta International School. Mondal’s inner editor is unforgiving of her earliest poetry, which she says was ‘of a somewhat middling quality’. “Then I discovered Marquez and Rushdie and Kolkata writer Samit Basu. These completely blew open my mind,” she said.

“I come from a background which made every success in life feel like a little ‘whoop’ to me because nobody in my family had done anything like that. I felt like that when I got into the English department of Jadavpur University in 2007. I don’t think I have stopped,” she says.

Mondal was the Octavia Butler Memorial Scholar at science fiction writing workshop Clarion West in 2015. In strange poetic justice, it is Octavia Butler to whom Mondal’s co-edited anthology pays tribute. “Butler was a number of firsts — the first major African American, queer, woman author of the genre. ‘Luminescent Threads’ is a book about celebrating the triumph of diversity,” Mondal says.

Diversity and inclusion of diverse people remain the writer’s chief concern. Mondal finds herself asserting her Dalit identity to a Western readership “which does not even know what Dalit means”. “I didn’t write from a Dalit sensibility until a few months ago. I am still teaching myself the process. I represent my community by declaring I am Dalit in my author bios and everywhere else.”

source: http://www.timesofindia.indiatimes.com / The Times of India / News> City News> Kolkata News / TNN / April 06th, 2018

Architect helps crack conservation code

Calcutta:

A young architect working on heritage structures in Chandernagore busted several myths about conservation of old buildings at a lecture at the Indian Museum on Wednesday afternoon.

“Conservation is no rocket science. It is far from a Nasa code that can’t be cracked,” said Aishwarya Tipnis.

An alumnus of the School of Planning and Architecture in New Delhi, Tipnis won the Chevalier des Artes et des Lettres, France’s top cultural award, this January for her “outstanding commitment” to the preservation of French heritage in Chandernagore, where she has been working for eight years.

The 37-year-old debunked the common perception that conservation is opposed to development, stressing that it is in fact a part of it.

The lecture, titled Why Does Heritage Conservation Even Matter To Anyone, took the audience through a presentation that told the story of Tipnis’s first big project – the restoration of a 160-year-old mansion in old Delhi, which started in 2010.

The current owner of Seth Ram Lal Khemka Haveli at Kashmere Gate in Shahjahanabad, Deoki Nandan Bagla, wanted to spruce up the house before his sons’ marriage. The three-storeyed house had been home to Bagla’s grandparents since 1920. Lack of renovation had created large cracks on floors and walls and several doors and windows were missing.

It was one of the first private conservation projects in the capital and went on to become a torchbearer for conservation of several old mansions. But the journey wasn’t smooth. The first challenge came from the client himself. Bagla wanted to turn it into a contemporary home. “What is restoration? Make the haveli modern,” he told Tipnis.

But Tipnis managed to convince him that compromising on the house’s principle architectural and aesthetic values was not a smart choice. “I told him everybody had a fancy home. But a palatial mansion was rare. He could show it off as a status symbol to the families of prospective brides.”

The finer details of the conservation were not as important to Bagla as his family’s pride. The point Tipnis drove home was that “architects have to get off their high horses” and connect with people.

One of the key aspects of traditional architecture was lime mortar plastering instead of cement. It led to setting up a lime mortar chukki in the courtyard of the mansion. After several failed experiments – with everything from urad dal and gur to methi seeds – a traditional lime plaster was ready to be caked on the walls.

The project also proved that conservation did not need to be an extremely expensive affair and jugaad could go a long way in bringing down the costs. Instead of using imported beams, Tipnis and her team used stainless steel beams made in Bagla’s factory.

The main lesson of the project was that heritage must continue to be relevant for conservation. “The day it loses relevance, no amount of legislation can preserve it,” said Tipnis.

source: http://www.telegraphindia.com / The Telegraph,Calcutta,India / Home> Calcutta / by Debraj Mitra / April 05th, 2018

A biopic on Bengal’s bravest freedom fighter Dinesh Gupta

His directorial debut ‘Sahaj Paather Gappo’ has given Manas Mukul Pal the much-needed boost to start his career. His first film became a box office hit last year receiving rave reviews from both the audience and critics.

Now the talented filmmaker is all set for his next venture which is reportedly a biopic on freedom fighter Dinesh Gupta. The film will begin right from his college days and follow his indomitable works and actions as Bengal’s one of the bravest freedom fighters.

Not just Dinesh, the story of Binay and Badal will find their place in the upcoming biopic. The famous Writers Building attack by Binay-Badal-Dinesh will also be covered. It’s certainly great news for Bengali cine lovers. After a long time, we will see a historical biopic. Interestingly, earlier this year rumours suggested Dev will also make a film on Binay-Badal-Dinesh.

Dinesh Gupta was born on December 6, 1911 in Josholong of Munshiganj District, now in Bangladesh. While studying in Dhaka College, he joined Bengal Volunteers, a group founded by Subhas Chandra Bose in 1928. Soon the Bengal Volunteers turned out to be a more active revolutionary association and started liquidating infamous British police officers. Dinesh was only 19 when he was hanged for anti-government activities and murder on 7 July 1931 at Alipore Jail.

As per industry sources, the camera will roll on for this biopic from October. The film will be shot in Kolkata, Midnapore, and Bangladesh.

source: http://www.timesofindia.indiatimes.com / The Times of India / Home> News> Entertainment> Bengali> Movies / News / TNN / April 03rd, 2018

Glass-top gallery at Currency Building

The courtyard of the 185-year-old Currency Building
Dalhousie is being restored by the Archaeological Survey of India. The remnant of the dome to the left was in a state similar to the one on the right and has now been restored.
The green tiles (above) with nettle patterns have developed cracks in some places and a few have broken edges. A technique called lime punning, which involves application of a mixture of lime and sand, is being used to prevent water from seeping into the inner side of the tiles and conserve them. / Pictures for all above by Sanjoy Chattopadhyaya

Calcutta:

The large courtyard of the more than 150-year-old Currency Building, designed in Italian style, will soon be turned into an exhibition hall for the National Gallery of Modern Art with a glass roof over the remnants of demolished domes overhead.

The flat toughened glass ceiling will allow sunlight to stream in and keep the view of the domes unhindered.

Conservation and restoration work is underway at the protected monument, which is under the custody of the Archaeological Survey of India (ASI). The first and second floors of the building’s west wing, facing Dalhousie Square, will also be handed over to the National Gallery of Modern Art (NGMA).

The building was “founded” in 1833, according to the ASI website. “It initially housed Agra Bank and was named Currency Building when the government took over a large portion for its currency department,” the website states.

The building had been in use till 1994. The Central Public Works Department (CPWD), which was in charge of the building, started demolishing the structure in 1996.

In the book White and Black, Soumitra Das writes that the destruction was stopped after the Calcutta Municipal Corporation (CMC) and Intach (Indian National Trust for Art and Cultural Heritage) intervened. The ASI was given custody of the building in 2005. But the three massive central domes had been pulled down by then.

Architects and engineers are now conserving the tiles on the walls of the courtyard and restoring the hollow walls on the first and second floors.

Some tiles with nettle designs have developed cracks while a few others are damaged along the edges. Instead of restoring the tiles, which would involve filling the gaps with similar tiles, the ASI has decided to conserve them using a technique called lime punning (see caption).

“Lime punning will prevent water from seeping into the inner side of the tiles and restrict further decay,” said Sudipta Sen, a junior conservation architect in the project.

Post restoration, only the west wing of the building will be handed over to NGMA, which plans to use the space for an exhibition hall and a full branch office.

“An office in Calcutta would help researchers as they would be able to approach the city office for help instead of going to Delhi,” said Adwaita Charan Gadanayak, the director general of NGMA.

“We expect to get the space within three months. The ASI is working very fast. Once we get the space, we will use some of it for permanent display of paintings and artefacts and the rest for exhibitions,” Gadanayak said.

“A memorandum of understanding was signed in 2015 and work was carried out in phases. Recently, we have quickened our pace and hope to hand over the space to NGMA soon,” said G. Maheshwari, the superintending archaeologist of ASI’s Calcutta circle.

The first and second floors of the west wing are also being done up. Each of the floors has three rooms and a 40-metre-long hall. Together, the two floors hold 12,055 sq ft of space.

The east wing has offices of the ASI and National Monuments Authority.

source: http://www.telegraphindia.com / The Telegraph,Calcutta,India / Home> Calcutta / by Subhajoy Roy / April 01st, 2018