14th ISSUE

Kamalapur Railway Station: A Gateway to Journeys in Bangladesh

Kamalapur Railway Station, officially known as Dhaka Central Railway Station, stands as a bustling gateway to the vibrant capital city of Dhaka. Nestled in the heart of the city, this vital transportation hub connects travellers to all major cities in Bangladesh. As the largest and busiest railway station in the country, Kamalapur serves as a crucial link, facilitating journeys both near and far. Its rich history, architectural significance, and constant activity make it an iconic landmark. With a unique design and historical roots, Kamalapur Railway Station weaves together the fabric of Bangladesh’s rail network. The station’s significance has increased following the opening of the Padma Bridge. Kamalapur Railway Station (KRS), steeped in history, stands as Dhaka’s historic gateway. Its iron-clad colonial-era architecture evokes memories of a bygone era, a bridge between past and present. But Kamalapur is more than just a transit point; it embodies the spirit of a nation on the move—a pulsating heartbeat that reverberates across Bangladesh. Kamalapur Railway Station stands as a vital link in Bangladesh’s transportation network, connecting people, cultures, and commerce. As trains arrive and depart, the passengers weave intricate stories etched into the very walls of this magnificent station. Here, hope mingles with anticipation, dreams find their rhythm, and reunions unfold. The station’s bustling platforms witness resilience—the quiet strength of travellers forging ahead despite life’s twists and turns. And within its echoing halls, new beginnings take root, fueled by the promise of distant horizons. Kamalapur Railway Station, standing tall against the passage of time, is a living testament to Bangladesh’s architectural ingenuity. It’s not merely a physical structure; it’s a gateway to aspirations, connections, and the beating heart of a nation. As passengers step onto its platforms, they become part of a grand narrative—a journey that transcends mere destinations and becomes an enduring legacy of rail travel in Bangladesh. Architectural Marvel Kamalapur Railway Station stands as a captivating blend of modernity and tradition. More than a mere transportation hub, it represents an architectural marvel that seamlessly connects the past with the present. Designed by the renowned American architects Daniel Dunham and Robert Boughey (Bob Buie) of Louis Berger and Consulting Engineers Ltd. in the 1960s, Kamalapur Railway Station serves as a symbolic gateway to Dhaka. Daniel Dunham, a young architect fresh from completing his studies at Harvard’s Graduate School of Design (GSD), took charge of Berger’s fledgling Dhaka office. His task was to tackle an extensive backlog of new projects. The station’s architecture draws inspiration from both modernist principles and traditional neo-Islamic influences, as well as Bengali styles. It stands as a testament to Dhaka’s modern architectural spirit. Architect Daniel Dunham skillfully blended modernist elements with traditional Bangladeshi architecture. The station’s most striking feature is its parabolic shell roof—a true engineering masterpiece. Stretching over the platforms, this roof provides shelter to passengers. The lattice-like concrete structure fosters openness and allows natural light to filter through, creating a welcoming ambiance.   Kamalapur Railway Station officially opened on May 1, 1968, during President Ayub Khan’s tenure. Its construction cost at the time was Taka 5 crores 30 lakh. When the value of one vori of gold stood at only 100 takas, A year after its inauguration, the Provincial Office of the Railway Postal Service found its new home within this remarkable station building. Design Features The station building is well-suited for tropical climates, providing protection from rainwater like an umbrella. It incorporates various functional spaces, including ticket booths, administrative offices, passenger lounges, waiting areas, and restrooms, all under an integrated canopy-based roof. The structure comprises 36 square domes supported by a total of 49 columns. Above these columns stands a roof featuring 36 slender concrete umbrella-type domes. Each column extends 59 feet high, branching out to support the roof. The open-air design capitalises on Dhaka’s cross breezes while safeguarding interior spaces from monsoon rains. The Kamlapur Railway Station’s thin concrete shell dome-umbrella design, completed by the consultants, has become a local icon, cherished by prominent architects as a cultural heritage piece. The parasol roof continues to define the station’s unique skyline. Architect Dunham immersed himself in Bangladeshi culture, learning Bengali and adapting to local craftsmanship and construction practices. Instead of designing an enclosed monolithic structure with mechanical heating and cooling systems, Dunham leveraged Dhaka’s tropical climate. His innovative roof system provides shade over the station’s offices and facilities, supported by a versatile field of columns. The construction technique involves thin concrete shells, which Dunham explored during his thesis at the GSD. After Dunham’s departure, architect Robert Boughey took over the post, designing tessellating concrete shells for the roof, reminiscent of pointed arches seen in Islamic architecture. These shells were cast on-site using reusable materials. Kamalapur Railway Station, with its remarkable parabolic shell roof, stands as an engineering marvel. This expansive structure spans the platforms, providing shelter to passengers. The station’s circular layout, boasting a diameter of 186 metres, centres around a soaring dome that reaches a height of 26 meters. Eight radial wings extend from the central hub, housing platforms, and tracks. The station’s architecture seamlessly blends modernist elements with traditional Bangladeshi motifs, reflecting the nation’s spirit. The concrete lattice structure allows natural light to filter through, creating an airy and open ambiance. High ceilings and spacious interiors enhance the feeling of grandeur. Kamalapur’s design prioritises functionality while maintaining aesthetic appeal. Geometric patterns, arches, and intricate details evoke the essence of Bengali culture. As a testament to Bangladesh’s identity and heritage, Kamalapur Railway Station stands proudly. The station is an engineering marvel that spans the platforms, providing shelter to passengers. Additionally, in other parts of the country, the Sylhet Railway Station in the north-eastern region and the Chilahati International Rail Station in the north-western part also feature a similar umbrella-like structure. These stations use national flower-shaped “shapla” shells supported by a forest of columns to cover their facilities. Historical Context Bangladesh Railway has been operating in the British period since 1862 in the eastern and western parts of the country, divided by the great river

A Bridge From Transport Connectivity to Economic Corridor

The opening of the Padma Bridge has created the scope for a new wave of investment in the country’s south and south-western region. The region’s easier road communications with the rest of the country has brought fresh momentum for business growth. New industries are being planned and tourism sector entrepreneurs are hoping for a business boom surrounding Kuakata sea beach and the Sundarbans. Thus, the bridge has offered a new economic corridor in the making. Economists and business leaders believe with remarkable improvement in road network though the bridge trade and business in the region would expand rapidly, raising the people’s income, creating jobs and eradicating poverty. The Padma Bridge is also expected to bring about a massive change in the entire economy. The Ministry of Road Transport and Bridges believes the economic corridor surrounding the Padma Bridge and its adjacent areas would increase the country’s GDP (gross domestic product) growth by 1.27 percentage point. The southern region’s economy will grow at a higher pace. Predicting a higher GDP growth for the Padma Bridge, the Asian Development Bank (ADB) said the rate of poverty reduction will be accelerated by 0.84 per cent every year. However, as many as 53 upazilas out of 133 upazilas in 21 districts on the south-western side of the bridge are of high concentration of poverty, according to Bangladesh Bureau of Statistics (BBS) poverty map. Another 42 upazilas are in the medium poverty risk category and 38 in low poverty risk category. Economist and chairman of Palli Karma-Sahayak Foundation (PKSF) Quazi Kholiquzzaman Ahmad said small entrepreneurs are more enthusiastic about the Padma Bridge and they should be provided with opportunity to make investment and various supports such as gas and electricity supply should be ensured at affordable costs. He observed that the bridge has jointed the southern belt with the rest of the country. The bridge will result in smooth transportation of farm produces from the region, according to Implementation, Monitoring and Evaluation Division (IMED) of the Ministry of Planning. It said farmers’ income will increase 15-20 per cent since direct connections between farmers and the market forces will be established. Transport sector insiders added the time for transportation of goods from Benapole to Dhaka would come down to 6-7 hours from 24-36 hours. The southern region was attractive for low-cost transport of goods by river routes but longer time and uncertainity in ferry services earlier discouraged the entrepreneurs from taking business initiatives. The Padma Bridge has now created the scope for big companies to come forward with investment projects in the region. The companies that have shown interest in setting up factories in the region include Sheltech, Pran-RFL, TK Group, Envoy Group, Hameem Group, Mir Group, Karim Group and Opsonin Pharma. Bangladesh Economic Zones Authority (BEZA) has unveiled a master plan on Padma Bridge that would directly benefit Dhaka, Khulna and Barisal divisions. It is taking steps to establish 17 new Economic Zones (EZ) in 21 districts of the three divisions. In the 1960s, Khulna became one of the few industrial hubs of the country but it has subsequently lost the glory. However, after the launch of Padma Bridge, Khulna is drawing attention of the investors. Abdus Salam Murshedi MP, president of Bangladesh Exporters’ Association (BEA) and former president of BGMEA said, “I definitely want to use this opportunity. I want to set up a new garment factory in Khulna. I also encourage others to invest in the region.” In fact in 2019, Sheltech Group established the country’s largest ceramics industry in the southern district of Bhola. The company invested more than Tk 7 billion taking advantage of local natural gas and cheap land with the hope of opening of the Padma Bridge in 2022. Now, Sheltech is also planning to set up a non-denim garment factory in Bhola, said Engineer Kutubuddin Ahmed, chairman of the group. “We are now looking for land to set up a ready-made garment industry in Barisal. After the inauguration of the Padma Bridge, investing in the south is the most promising one,” he added. Chini Tikri The Inaugural Murals By 15,000 Ceramic Plates One of the two spectacular installations at each end of the Padma Bridge is its inaugural mural – which has been constructed by using 15,000 ceramic plates. The portraits of Father of the Nation Bangabandhu Sheikh Mujibur Rahman and Prime Minister Sheikh Hasina have been made by breaking these 37 coloured plates into ‘Chini Tikri’. One was the dreamer of Padma Bridge and the another one is its implementer. As the ceramic plate is broken and made, it starts to sparkle when the sun shines on it. These ceramic plates are hammered and broken into about half a million pieces. Then different colours of the pieces are arranged one after one to create two beautiful portraits. Designed by architect Fazle Karim Shishir of Drishik, the two murals were created by artists Ashraful Alam Riaz and Didar Ul Alam. Both are graduated from the Fine Arts Institute of Dhaka University. The 90-feet-long and 45-feet-high mural at the Mawa end was done by Didar Ul Alam and the 72-feet-long and 36-feet-high mural at the Janzeera end was done by Ashraful Alam Riaz. They told Ceramic Bangladesh that at first the designer thought of making this mural with ceramic tiles, but later they chose ceramic plates of the highest quality considering the bright colour and durability. A total of 15,000 plates of 37 types of colours have been used here. Among them, 7 types of coloured plates are used to display black and white portrait of Bangabandhu. And 30 types of coloured plates are used to produce colourful portrait of Prime Minister Sheikh Hasina. All of these ceramic plates are customised. Because such a variety of colour plates are not usually produced by ceramic companies. Artisan Ceramics made 8,000 plates used in the Mawa end mural and Monno Ceramics made 7,000 plates used in the Janzeera end mural. This construction work was completed in two months by two

A palace on the bank of Buriganga

An integral part of Dhaka’s image in terms of historical architecture that still remains and has been renovated and preserved is the Ahsan Manzil. And like many of common folks who grew up in Dhaka, they have always wondered, at least once in their lives, the reasons behind why this iconic landmark is painted pink. Perhaps unsurprisingly, Ahsan Manzil’s history is even more colourful. This iconic building was built on a property that has a rich history dating back to the Mughal era at the southern part of Dhaka. During the Mughal Empire, Sheikh Enayet Ullah, Zamindar of the Jalalpur Porgona (Faridpur-Barishal), who was the original owner of the land, built a palace called Rong Mahal (which loosely translates as ‘Colourful Palace’) in 1720 for his amusement, a typical practice amongst wealthy elites at the time. He also had a garden house and a cemetery on this site. After he passed away, his son Sheikh Moti Ullah sold the property to the French traders in Bengal at the time. The new owners soon established a trading house next to the palace. Later, after being defeated in the Palashy War by the British East India Company in 1757, they had to leave their possessions behind. After changing hands a number of times, the property was purchased by Khwaja Alimullah of Begambazar in 1830, who was a prominent merchant and an important figure of Dhaka’s Muslim community at the time. Alimullah renovated the property, turning the trading house into a residence. He also built a mosque and some other important structures in this area. After his death in 1854, his son Khwaja Abdul Ghani inherited the property and named it Ahsan Manzil after his son Khwaja Ahsanullah. He continued renovations; the old building was renamed Ondor Mohol (ladies quarters) and the new building was called Rangmahal (pleasure palace) and was later renamed Ahsan Manzil. Khwaja Abdul Ghani was one of the most influential Nawabs (Zamindar) of Dhaka. Known for his generosity and patronage of arts and culture, he expanded his estate by acquiring more lands around Ahsan Manzil and also played an important role in improving the infrastructure, education, healthcare, trade, and social welfare of Dhaka. In 1859, he built a new building on Ahsan Manzil’s property that resembled European architecture because of its domes and pillars. The Nawab named it Rangmahal and painted it with different colours every year according to his mood. On 7 April 1888, Ahsan Manzil suffered severe damage from a tornado that impacted most of its buildings, except for Rangmahal and it was temporarily abandoned. Khwaja Abdul Ghani then decided to rebuild Ahsan Manzil with more vigour and decorations than previous ones. He hired Martin & Co., a British construction and engineering f irm, who designed Ahsan Manzil with an Indo-Saracenic style, blended with Islamic and European elements. In 1872, the reconstruction work continued under Khwaja Abdul Ghani’s supervision, what was previously the French trading house was rebuilt as a two-storey building similar to the Rangmahal. A wooden bridge connected the first floors of the two buildings. After he died in 1896 at the age of 87 years, his son Khwaja Ahsanullah continued his father’s legacy by taking care of the palace. He added new features like electric lights, gas lamps, and water pumps as part of modernization. The palace was repaired again following the 1897 Assam earthquake. The Nawab family played crucial roles in the modernisation of the Dhaka city, particularly in the development of educational systems, healthcare, and urban infrastructure, including the f iltered water supply system that served the city population. They occupied important positions as Commissioner of Dhaka Municipality. Today, within the hyper-congested and cacophonous urban growth of Old Dhaka, it is difficult to imagine how this majestic edifice once dominated the riverfront skyline of Dhaka. The landmark is a unique fusion of architectural styles, reflecting the rich cultural influences that shaped Bengal it over the centuries. The main palace building showcases a harmonious blend of Mughal and European architectural styles. The Mughal influence is evident in the structure’s domes, arches, and intricate decorative motifs. The ornate design of the palace’s entrance and interior chambers reflects the opulence that was characteristic of the Mughal era. European influences, on the other hand, are seen in the high ceilings, broad staircases, and expansive verandas. The palace’s central ballroom, adorned with crystal chandeliers and European-style furniture and tableware, exudes an air of sophistication that was imported from Europe during the late 19th century. The building faces the Buriganga River and Buckland Dam. On the riverside is a stairway leading up to the 1st floor. A fountain previously sat at the foot of the stairs but was not rebuilt. Along the north and south sides of the building are verandas with open terraces. Ahsan Manzil is ostentatiously European in its architectural expression, even though the building’s recessed verandahs may recall the Mughal treatment of buildings in a tropical climate. Its triple-arched portal, Greco-Roman column capitals, pilasters, and arched windows—all suggest that it is mostly a European-style building, meshed with some decorative Indian motifs. The palace’s soaring dome appears to be more about impressing the viewer on the exterior, rather than within the interior. The dome is at the centre of the palace and is complex in its design. The room at its base is square with brickwork placed around the corners to make it circular. Squinches were added to the roof corners to give the room an octagonal shape and slant gradually to give the dome the appearance of a lotus bud. The dome’s peak is 27.13 metres (89.0 ft) tall. The palace is divided into the eastern side, the Rangmahal, and the western side, the Andarmahal. The Rangmahal features the dome, a drawing room, a card room, a library, a state room, and two guest rooms. The Andarmahal has a ballroom, a storeroom, an assembly room, a chest room, a dining hall, a music room, and a few residential rooms. Both the drawing room and