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I introduced John to 'pultruded' fibreglass rod that is available for making model aircraft and kites, this material is light and yet stiff without being brittle and is available in thicknesses in the region of one to several millimetres in diameter. The material is made by pulling a bunch of parallel glass fibres through a die that also acts as an extrusion die for the resin. This die is usually at one end of a heated tunnel that cures the resin as the rod is pulled through, hence the name 'pultrusion'. The operations required for manufacture of this unusual tool can be performed using a Dremel nbsp;type grinding tool. The sample rod shown at right is 2.0 nbsp;mm in diameter and is rather too stiff for our purpose, however a similar material between 1.0 nbsp;mm and 1.5 nbsp;mm diameter will 'give' enough for our tweezer if the limbs are around 100 nbsp;mm in length. I have executed the drawings to indicate a rod diameter of 1.4 nbsp;mm diameter. |
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| A. Significance of Inbreeding Dominance-Variance Components, for Different Scenarios Given in Table 4 | ||||
| No. of Simulations Having P = | ||||
| Scenarioa | #x0003e;.10 | .10 #x02013;.05 | .05 #x02013;.01 | #x0003c;.01 |
| A | 3 | 2 | 0 | 0 |
| B | 9 | 1 | 0 | 0 |
| C | 2 | 1 | 2 | 0 |
| D | 1 | 1 | 0 | 3 |
| E | 2 | 0 | 1 | 2 |
| F | 1 | 0 | 1 | 3 |
| G | 0 | 0 | 1 | 4 |
| Gradually, a reaction set in to the mixed classical and Gothic styles of mid-Victorian architecture and to the artificiality – and perceived ugliness - of machine made building parts and fittings. The result was the emergence of the Arts and Crafts Movement which created a new aesthetic approach in all fields of design based on a search for greater ‘truthfulness’ and simplicity in design. In domestic architecture it led to the rise of a new style frequently referred to as the ‘Old English Revival’. This can be traced to the building of the Red House at Bexley Heath, Kent, designed by Philip Webb (1831-1915) for William Morris in 1859. Rejecting machine made decoration, Morris and his circle of friends made some of the fittings - including the stained glass and tiles - themselves. The house was built of red brick with a high pitched, red tiled roof and incorporated such romantic features as a turret, oriel windows and gables. It marked a return to the vernacular tradition of building and became, in the words of John Cloag, ‘the progenitor of a new school of domestic architecture’. Much imitated, it became a dominant influence on the so-called ‘stock broker belt’ housing – large detached houses built mainly in southern commuter villages like Gerrards Cross, Buckinghamshire up to 1939. | |
| In the 1890s, a new interpretation of the Old English Revival emerged through the work of C.F.A. Voysey (1857-1941) and Sir Edwin Lutyens (1869-1944). In some of his country houses, Lutyens combined classical style with the use of local materials as at Heathcote, Yorkshire. The houses of Voysey and his followers built in the early 1900s for wealthy clients struck a modern look with their low ceilinged rooms, horizontal windows, roofs sweeping almost down to ground level and white rough cast or pebble dash walls, although Voysey always saw himself as an architect working firmly within the traditions of English vernacular architecture; his use of pebble dash, for example, came from the traditional harling of Scotland and Cumbria. The photo on the right shows The White House by Dare Bryan after C. F. A. Voysey, Leigh Woods, N. Somerset, 1901. |
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