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"Keep that," he would say, "for thyself and those like thee, and whoever else require it! I--have no reason to cover my nakedness!" One suspects that this kind of divinity and philosopher perhaps lacks shame.--He once said: "Under certain circumstances I love mankind"--and referred thereby to Ariadne, xvideo xx 133f npxf was present; "in my opinion xvideo xx 133f npxf is an agreeable, brave, inventive animal, that has not his equal upon earth, he makes his way even through all labyrinths., .




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The cosy semi-rural world of the Tudoresque villa was rudely shattered by a challenge from the aggressive, uncompromising Modern Movement. This was a European reaction to traditional styles which emerged in the 1920s, led by architects such as Le Corbusier (1887-1965), Walter Gropius (1883-1969) and Ludwig Mies van der Rohe, (1886-1969). They rejected historical styles and any architectural decoration or whimsy. Ornament of any kind was to be banished as architecture searched for a purity and simplicity of design based on sheer functionalism. In achieving this traditional building techniques were abandoned in favour of reinforced concrete which enabled the architect to break all conventions of design. Cantilevered upper floors, large picture windows and flat roofs and the whole finished in stark white were the hall marks of the movement.
Some striking houses were built in the style – such as ‘High and Over’ (right) in Amersham, Buckinghamshire, designed by the New Zealand architect, Amyas Connell (1901-80). Completed in 1929 and followed by several similar houses, ‘High and Over’ received critical acclaim from within the architectural profession but never caught the popular imagination.
The Modern Movement never suited the British psyche – or the weather: it was seen as too impersonal and large areas of glass were either to hot or too cold for the English climate. Nevertheless, a few middle class apartment blocks around greater London were built in the Modern Style and some elements were applied to houses of conventional construction. To John Betjeman these were not ‘modern’, only ‘jazz’, with their flat, green tiled roofs, white rendered walls and wide metal windows which curved around corners (right). These, the so called ‘suntrap’ windows have given their name to this distinctive house type. The Suntrap house, however, never represented more than a minor footnote in the history of thirties suburbia, always something of a curiosity and ultimately, signifying the failure of the Modern Movement to win widespread acceptance before 1939.
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This section describes the skills and knowledge required for this unit.

Required skills nbsp;

  • language, literacy and numeracy skills to:
  • communicate with others clearly and concisely, verbally and in writing
  • read and comply with work industry regulations and codes of practice
  • interpret information
  • initiative and enterprise skills to:
  • seek advice on license requirements
  • apply understanding of ozone layer depletion and global warming to change and improve fire protection industry work practices
  • identify and act upon learning opportunities
  • technology skills to use technology to access information

Required knowledge nbsp;

  • effect of ozone layer
  • actions to take where a breach of ODS and SGG policies and procedures occurs
  • effect of:
  • ODS and SGG emissions on ozone depletion and global warming
  • ozone depletion and global warming on environment and human health
  • factors involved in global warming
  • implications of not applying ODS and SGG legislative requirements to the workplace
  • key features of:
  • legislation, regulations and standards applicable to ozone protection in the fire protection industry
  • fire protection industry codes of practice
  • ODS and SGG substances used in the fire protection industry
  • ODS and SGG EAHL features and requirements, authorisations and permit requirements
  • relevant federal, state or territory legislation that affects organisational operations

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`But, Troilus, yet tel me, if thee lest, A thing now which that I shal axen thee; 1395 Which is thy brother that thou lovest best As in thy verray hertes privetee.' `Y-wis, my brother Deiphebus,' quod he., .



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