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Trinity Square Gateshead

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(Redirected from Trinity Centre Multi-Storey Car Park)

Trinity Square car park seen from Newcastle Castle Keep
Trinity Square is a shopping centre in Gateshead, Tyne & Wear, particularly noted for its Brutalist car park designed by Owen Luder. The concrete structure, which dominates the skyline of the town, has a prominent role in the 1971 film Get Carter, so is often referred to informally as the Get Carter Car Park. The car park and the rest of the Trinity Square complex is currently scheduled for demolition and redevelopment by Spenhill Developments, a division of Tesco PLC.
Contents
1 Description
2 Depiction in Get Carter
3 Decline
4 Preservation Attempts
5 Demolition Plans
6 References
7 External links
//
Description
The car park was designed in 1962, when Brutalism was regarded as the cutting edge of architecture, but by the time that it opened in 1969, interest in the movement had begun to decline. The building's raw concrete weathered poorly, and by the time Get Carter was filmed the following year the car park had already become patchy.
The Multi-storey car park has seven tiers of parking decks. These are raised above the adjoining shopping centre by a "forest" of piloti columns. The decks on the north face have a slight curve creating a wave effect. There are two supporting towers containing stair access. Each level of car park is therefore uninterrupted, so that when viewed from a distance the sky is visible through the structure. A cafe unit in a contrasting box structure sits above the top tier of the car park connected to the access towers by an expressed glazed 'bridge' and an open walkway. The cafe has large windows providing views across the Tyne Valley.
The developer was E Alec Colman Investments Ltd, who had also used Luder for their Tricorn Centre in Portsmouth, and construction was undertaken by Robert McAlpine. The Consulting Structural Engineer was Gordon Rose of Rose Associates. The car park was commissioned as part of the redevelopment of the established market square in Gateshead town centre, and hence is sometimes referred to as the Inner Market Car Park. However the landscaping ultimately created an exposed and unattractive shopping precinct on two levels with poor access. While construction of the car park was in progress subsidence was noticed due to mine workings, but this was overcome. At the same time nearby Newcastle upon Tyne had begun the covered Eldon Square Shopping Centre and this further undermined the long-term success of the development. The rooftop cafe failed to find a tenant and was never opened.
Depiction in Get Carter

Showing the roof top cafe
The car park is the location of several key scenes in Get Carter and is often seen in the distance. Corrupt local businessman Cliff Brumby (Bryan Mosley) gives Jack Carter (Michael Caine) a tour of the incomplete roof top cafe, stating that he is in the process of developing it into a restaurant. Carter later confronts Brumby at the same location.
Decline
With the development of the MetroCentre and competition from nearby Newcastle-Upon-Tyne city centre, commercial interests in Gateshead town centre have declined. The 1985 opening of the Gateshead Interchange Centre, a bus and metro transport hub, combined with changes to town centre access for private motorists, made the car park largely redundant. Its deteriorating condition also led to the 1995 decision to close the upper parking levels. In the late 1990s Tesco acquired an interest in the site and in 2008 work began to redevelop the entire Trinity Square site and the existing Tesco supermarket into a new town centre shopping complex.
Preservation Attempts
During the 1980s and 1990s there were various proposals to redevelop the car park as a contemporary art gallery or events venue (and in 1983 Charlie Hooker and the Newcastle-based Basement Group organised Mainbeam - a ballet for vehicles there), but as the structure was regarded as a civic white elephant, these all met with local resistance. The building remains unlisted. The building was featured in the Channel 4 series Demolition in 2005. At the same time general interest in the car park has increased, partly as a reflection of the recognition of Get Carter as a classic of British cinema, with Sylvester Stallone lending his not inconsiderable weight to the calls for it to be preserved as a cinematic landmark.
Demolition Plans

Derelict state of the rooftop restaurant during April 2008 tour.
On 13 June, 2007, a joint press conference between Gateshead Council and the owners of the site, supermarket giant Tesco confirmed the demolition of the car park. If plans move at planned speed then the car park, according to Gateshead Council, will be demolished sometime in 2008. The shops in the shopping centre down below closed...(and so on)

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Osa class missile boat

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Osa I (Project 205) craft
Class overview
Name:
Osa I (Project 205)
Operators:
see below
Preceded by:
Komar class missile boat
Succeeded by:
Tarantul class corvette
Subclasses:
Osa I, Osa II
Completed:
400+
General characteristics
Type:
fast attack craft
Displacement:
172 tons standard, 210 tons full load
Length:
37.5 m
Beam:
7.64 m
Draught:
3.8 m
Propulsion:
3 M504 B2 waterjets; 12,500 hp
Speed:
38 knots
Range:
500 nm at 35 knots
Crew:
26 / 28
Armament:
2 AK-230 30 mm/651 SA-N-5 SAM (1x4) MANPAD air defence missiles (Osa II)4 SS-N-2A Styx
The Osa class is the NATO reporting name for a group of fast attack craft developed for the Soviet Navy in the early 1960s. The Soviet designations are Project 205 (?????? 205) and Project 205U (?????? 205?) Tsunami. These craft are probably the most numerous class of missile boats ever built, with over 400 vessels constructed for both the Soviets and for export to allied countries. Two main variants were built: the Osa 1 (Project 205) which had box-shaped missile containers and the Osa 2 (205U) which had cylindrical missile containers. "Osa" means "wasp" in Russian, but it is not an official name.
Contents
1 Origins
2 Project
3 Combat service
4 Ships
4.1 Osa I
4.2 Osa II
5 References
//
Origins
These missile boats were designed to be much better fighting vessels than the previous Komar (Project 183R) class. While the Komars were cheap and efficient (and the first to sink a warship, destroying the Israeli Navy's Eilat), their endurance, sea keeping and habitability were modest and the missile box was vulnerable to damage from waves. Among their weak points was the wooden hull, the radar set lacking a fire control unit, and as single defenive position consisting of two manually operated 25 mm guns, (even if quite powerful themselves) with a simple optical sight. The Komars' offensive weapons were a pair of SS-N2A/P-15 missiles, and there was not enough capacity to hold the more recent longer-ranged P-15Ms. The sensors were not effective enough to utilize the maximum range of missiles, and the crew, numbering eleven, was not large enough to employ all the systems. As a result of these well recognized shortcomings, Komars were organized in squadrons of six units, because it was expected that every NATO destroyer needed two missile hit to be sunk and this could only be assured with 12 missiles. Since 'Komar's were rated with a rather low capability to survive, it was necessary to use three squadrons for every target, to assure one was successful.
Project
Osa ships were bigger than 'Komar' class, with a mass four times greater, and thirty crew. They still were meant as 'minimal' ships for the planned tasks.
The hull was metallic (steel), with low and wide superstructure made of lighter AMG alloys, continuous deck and a high free-board. The edges of the deck were rounded and smooth to ease washing off radioactive contamination in the case of nuclear warfare. The hull was quite wide, but OSAs could still achieve high speeds as they had three diesel engines capable of 12,000 hp (15,000 hp on Osa II), on three axis (to simplify the design, paradoxically, all engines were linked to one propeller). The powerful engines allowed a maximum speed of 40 knots (with 60 hp/ton, three times that of a 'fast tank' like Leopard 1) and reasonable endurance and reliability. There were also three diesel generators. Two main engines and one generator were placed in the forward engine room, the third main engine and two generators in the aft engine room. There was a control compartment between the two engine rooms.
The problem related to the weak anti-aircraft weaponry was partially solved with the use of two AK-230 turrets, in fore and aft deck (similar to the Hegu class, a Chinese improved and longer Komar, with an additional 25 mm gun). A 'Drum Tilt' radar was placed in a high platform, and controlled the whole horizon, despite the superstructures that were quite wide but low. So, even if placed in the aft, this radar had a quite good field of view all around. The AK-230s were unmanned, quite low and small, each armed with two 30 mm guns capable of firing 2,000 rpm (400 practical) with 2,500 m practical range. Use against surface targets was possible, but as with the previous Komar ships, once all missiles were expended it was planned to escape and not fight. Effective anti-surface weaponry was not available until the introduction of the Tarantul corvettes, with 76 mm guns.
The missile armament consisted of four hangars (protected from bad weather conditions) each with one SS-N 2/P-15 missile. This doubled the available weapons, allowing more persistent actions in the sea....(and so on)

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posted by yanglulu47 on Jun 25, 2009 7:42 AM | 0 comments
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Roxanne Ellis and Michelle Abdill

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(Redirected from Roxanne Ellis)
Roxanne Ellis (November 4, 1942 - December 4, 1995) and Michelle Abdill (July 8, 1953 - December 4, 1995) were a lesbian couple, murdered in Medford, Oregon by Robert Acremant. Before and during his trial, Acremant stated that the crime was partially motivated by the couple's sexual orientation.
Contents
1 Background
2 The murders
3 Publicity and arrest
4 Robert Acremant
5 Motives
5.1 Robbery
5.2 Homophobia
5.2.1 Alla Kosova
6 Guilty plea and death penalty
7 See also
8 References
9 External links
//
Background
In 1990, Michelle Abdill and Roxanne Ellis moved from Colorado Springs, Colorado, which they felt was becoming increasingly hostile to gays and lesbians, to Medford, Oregon, where they hoped the small town setting would give them a chance to start over and find acceptance. The couple met in Colorado, where Ellis divorced with two children worked as an obstetrics nurse. Abdill got a job in the same doctor's office, and they eventually became life-partners.
The couple started a successful property management business and was elected to the board of their church. They spent their spare time restoring their old Craftsman-style house, visiting Ellis' three-year-old granddaughter. They also worked as activists, fighting two Oregon state ballot initiatives in 1992 and 1993; Measure 9 intended to amend the state constitution to declare homosexuality "abnormal, wrong, unnatural and perverse," and Measure 19 intended to restrict library access to materials related to homosexuality.
At the time of their murders, Ellis and Abdill had been together for 12 years.
The murders
On December 4, 1995, Ellis went to an appointment with 27-year-old Robert Acremant to show him an apartment. Police believed the appointment was made earlier that day. Ellis failed to return several pages from her daughter, Lorri, during the day, and allegedly called at 4:00 p.m. to tell Lorri she was going shopping.
Abdill left the office a 5:00 p.m. saying that she was leaving to help Ellis jump start her car after receiving a call that the car would not start. Later, Ellis' daughter drove over to the apartment complex where her mother was going to show the apartment and saw her mother's pickup. She said it pulled away from her when she tried to follow it.
Ellis and Abdill were not seen again until their bodies were discovered four days later in the back of Ellis' pickup truck by a cable TV worker who reported the vehicle to police. The women were bound and gagged. Both had been shot in the head. Their bodies were wrapped in drapes and covered by cardboard boxes.
Publicity and arrest
The discovery of Ellis' and Abdill's bodies caused concern in the local gay community. The couple's activism on gay rights issues and records of an earlier threat against them roused suspicion that they had fallen victim to a hate crime. The National Gay and Lesbian Task Force wrote to Attorney General Janet Reno to request that the United States Department of Justice assist local authorities in their investigation. The letter cited the Justice Department's guidelines, which said a crime motivated by bias "in whole or in part" should be considered a hate crime.
The nature of the crime and the couple's activism led to widespread publicity about the case. Police publicized a composite sketch of the suspect based on a description of a witness who'd seen a man Acremant park Ellis' truck and walk away.
The media coverage of the murders reached Acremant's mother, who had moved to Medford three weeks earlier with her son. Believing her son had committed the murders, his mother called a police tip line and told police of her suspicion, based on her son's behavior and his resemblance to the composite sketch. She also showed police the labels of cardboard boxes used during her move to Medford with Acremant. Police matched the address labels to those on the boxes used to cover the women's bodies.
She later told The Oregonian, "I called the police because I have to look God in the face. I will do anything in my power to make sure other people aren't hurt. But right now, he's sick."
Police contacted California authorities and found that Acremant was under investigation there in the October 3 disappearance of one of his friends. He was then tracked down to a Stockton motel room and arrested on December 13, 1995.
Upon arrest, Acremant confessed to the Ellis and Abdill murders, claiming his motive was robbery. After they refused to write checks off their property management business, Acremant shot both women execution-style, each in the back of her head after binding and gagging them with duct tape and forcing them to lie down in the back of Ellis' pickup.
Acremant also confessed to killing Scott George of Visalia, California, on...(and so on)

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posted by yanglulu47 on Jun 17, 2009 7:33 AM | 0 comments
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Longbox



Various longboxes from the late 1980s and early 1990's.
A longbox is a form of exterior cardboard packaging for musical compact discs in widespread use in North America in the 1980s and early 1990s.
Background
When compact discs first began to appear in the retail stores, the longbox packaging served a transitional purpose, allowing shops to file new compact discs in the same bins originally used for vinyl records. Longboxes were 12" tall, and capable of containing two separate discs when necessary. Most longboxes were full color, with details about the compact disc on the back, and artwork that was frequently taken from the original square album cover art, reworked for the new shape and size. There were generic white longboxes with windows that would display the compact disc cover, as well as clear plastic versions that were an inexpensive substitute for a printed longbox.
Legacy
Environmental concerns of unnecessary cardboard waste from artists and consumers alike created controversy over continued use of longboxes. Musicians like David Byrne would include a sticker over the packaging of his albums reading "THIS IS GARBAGE", referring to the excessive material use of the longbox form. The satirical band Spinal Tap's 1992 studio album Break Like the Wind was sold in an "extra-long box" (an 18-inch longbox) a deliberate parody of the prevailing longbox packaging controversy, as well as a deliberate phallic metaphor.
Longbox packaging was phased out in the early 1990s due to the controversy. At the same time, major retail stores were no longer selling vinyl records and had converted their displays to accommodate shrink-wrapped jewel cases, meeting the rising consumer demand for CDs while eliminating the need for longboxes.
Some merchants resisted this discontinuation, as longboxes theoretically made it harder for shoplifters to hide the items. Several proposals for new types of packaging that served the display-size of the longbox and theft-prevention goals were developed.[citation needed] A common replacement consisted of locking plastic frames (security keepers) containing anti-theft detection strips, designed to roughly meet the same dimensions as the longbox to fit into the same racks in a record store, and removed by the cashier upon purchase. Eventually, as LP-sized sales racks were phased out, these frames were reduced to a size only slightly larger than the disc boxes themselves.
Aside from the occasional box-set or vanity CD packaging, longbox packaging is largely obsolete. However, longboxes are still occasionally used by warehouse clubs such as Costco for both CD and DVD packaging, though the boxes are typically generic and not produced by the media distributors.
Most original longboxes were discarded upon purchase, and they have since become desirable amongst music collectors.[citation needed] A compact disc is worth more if it is accompanied by its original longbox.[citation needed]
See also
Compact Disc
Optical disc packaging
Categories: CD | Packaging | Retailing
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posted by yanglulu47 on Jun 10, 2009 8:04 AM | 0 comments
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