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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
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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