It runs under the River Tyne between Howdon and Jarrow, and was opened inheralded as a contribution to the Festival of Britain. Both tunnels are m ft in length, and lie 12 m 40 ft below the river bed, at their deepest point. The Waygood-Otis escalators have wooden steps each, and are the original models from Inescalators with a higher vertical rise of 90 feet The Tyne Tunnel escalators remain the longest wooden escalators in the world.
Refurbishment In a refitting phase the escalators and lift shafts were due to be upgraded by October to early at a cost of £, However, GB Building Solutions went into administration indelaying the project. New lighting, CCTV, control and communications systems were installed, in addition to carrying out repairs to the tunnel structure itself and to the historic finishes within the tunnel such as the tiling and panelling.
The concrete floor sections were also refurbished or replaced. During the closure, a free, timetabled shuttle bus for pedestrians and cyclists was in operation between 6am and 8pm, seven days a week, days a year.
The Festival of Britain was a national exhibition and fair that reached millions of visitors throughout the United Kingdom in the summer of Historian Kenneth O. Morgan says the Festival was a "triumphant success" during which people: flocked to the South Bank site, to wander around the Dome of Discovery, gaze at the Skylon, and generally enjoy a festival of national celebration.
Up and down the land, lesser festivals enlisted much civic and voluntary enthusiasm.
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A people curbed by years of total war and half-crushed by austerity and gloom, showed that it had not lost the capacity for enjoying itself Above all, the Festival made a spectacular setting as a showpiece for the inventiveness and genius of British scientists and technologists. Instead the festival focused entirely on Britain and its achievements; it was funded chiefly by the government, with a budget of £12 million. The Labour government was losing support and so the implicit goal of the festival was to give the datarec suisse anti aging a feeling of successful recovery from the war's devastation, as well as promoting British science, technology, industrial design, architecture and the arts.
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The Festival became a "beacon for change" that proved immensely popular with thousands of elite visitors and millions of popular ones. It helped reshape British arts, crafts, designs and sports for a generation.
They called it "Contemporary". It was: clean, bright and new It caught hold quickly and spread first across London and then across England In an island hitherto largely given up to gravy browns and dull greens, "Contemporary" boldly espoused strong primary colors.
The first idea for an exhibition in came from the Royal Society of Arts inwhich considered that an international exhibition should be held to commemorate the centenary of the Great Exhibition. As a result, Labour-sponsored programs such as nationalisation, universal health care and working-class housing were excluded; instead, what was allowed was town planning, scientific progress, and all sorts of traditional and modern arts and crafts.
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The Festival was an attempt to give Britons a feeling of recovery and progress and to promote better-quality design in the rebuilding of British towns and cities. He appointed a Great Exhibition Centenary Committee, consisting of civil servants, who were to define the framework of the Festival and to liaise between government departments and the festival organisation.
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In Marcha Festival Headquarters was set up, which was to be the nucleus of the Festival of Britain Office, a government department with its own budget. A long-time editor with left-leaning, middle-brow views, he was energetic and optimistic, with an eye for what would be popular, and a knack on how to motivate others. Unlike Morrison, Barry was not seen as a Labour ideologue.
Barry selected the next rank, giving preference to young architects and designers who had collaborated on exhibitions for the wartime Ministry of Information. They thought along the same lines socially and aesthetically, as middle-class intellectuals with progressive sympathies.
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Thanks to Barry, a collegial sentiment prevailed that minimised stress and delay. The Festival's centrepiece was the South Bank Exhibition, in the Waterloo area of London, which demonstrated the contribution made by British advances in science, technology and industrial design, displayed, in their practical and applied form, against a background representing the living, working world of the day.
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Heavy engineering was the subject datarec suisse anti aging an Exhibition of Industrial Power in Glasgow. Certain aspects of science, which did not fall within the terms of reference of the South Bank Exhibition, were displayed in South Kensington.
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Linen technology and science in agriculture were exhibited in "Farm and Factory" in Belfast. A smaller exhibition of the South Bank story was put on in the Festival ship Campania, datarec suisse anti aging toured the coast of Britain throughout the summer ofand on land there was a travelling exhibition of industrial design.