The name of bowls is implied in the gerund bowlynrecorded in the midth century. Cambridge University Press. In modern practice the dead center is frequently replaced by a running centeras it turns freely with the workpiece—usually on ball bearings—reducing the best wood for turning bowls uk english heat, especially important at high speeds. This enables different thread pitches to be cut. Metal-spinning lathes are almost as simple as wood-turning lathes. Watchmakers lathes are delicate but precise metalworking lathes, usually without provision for screwcuttingand are still used by horologists for work such as the turning of balance staffs.

The other dimension of the workpiece is how far off-centre it can be. This is known as the 'swing' "The distance from the head center of a lathe to the bed or ways, or to the rest. The swing determines the diametric size of the object which is capable of being turned in the lathe; anything larger would interfere with the bed. This limit is called the swing of the bed. The swing of the rest is the size which will rotate above the rest, which lies upon the bed.

This makes more sense with odd-shaped work but as the lathe is most often used with cylindrical work, it is useful to know the maximum diameter of work the lathe will hold. This is simply the value of the swing or centre height above the bed multiplied by two. For some reason, in the U. To be clear on size, it is better, therefore, to describe the dimension as 'centre height above the bed'. As parts of the lathe reduce capacity, measurements such as 'swing over cross slide' or other named parts can be found.

The smallest lathes are "jewelers lathes" or "watchmaker lathes", which, though often small enough to be held in one hand are normally fastened to a bench. The workpieces machined on a jeweler's lathe are often metal, but other softer materials can also be machined.

Jeweler's lathes can be used with hand-held "graver" tools or with a "compound rest" that attach to the lathe bed and allows the tool to be clamped in place and moved by a screw or lever feed. Graver tools are generally supported by a T-rest, not fixed to a cross slide or compound rest. The work is usually held in a collet, but high-precision 3 and 6-jaw chucks are also commonly employed. Common spindle bore sizes are 6 mm, 8 mm and 10 mm. Most lathes commonly referred to as watchmakers lathes are of this design.

Derbyshire, Inc. Two bed patterns are common: the WW Webster Whitcomb bed, a truncated triangular prism found only on 8 and 10 mm watchmakers' lathes ; and the continental D-style bar bed used on both 6 mm and 8 mm lathes by firms such as Lorch and Star. Other bed designs have been used, such a triangular prism on some Boley 6. Smaller metalworking lathes that are larger than jewelers' lathes and can sit on a bench or table, but offer such features as tool holders and a screw-cutting gear train are called hobby lathes, and larger versions, "bench lathes" - this term also commonly applied to a special type of high-precision lathe used by toolmakers for one-off jobs.

Lathes of these types do not have additional integral features for repetitive production, but rather are used for individual part production or modification as the primary role. Lathes of this size that are designed for mass manufacture, but not offering the versatile screw-cutting capabilities of the engine or bench lathe, are referred to as "second operation" lathes.

Lathes with a very large spindle bore and a chuck on both ends of the spindle are called "oil field lathes". Fully automatic mechanical lathes, employing cams and gear trains for controlled movement, are called screw machines.

Lathes that are controlled by a computer are CNC lathes. Lathes with the spindle mounted in a vertical configuration, instead of horizontal configuration, are called vertical lathes or vertical boring machines. They are used where very large diameters must be turned, and the workpiece comparatively is not very long. A lathe with a tool post that can rotate around a vertical axis, so as to present different tools towards the headstock and the workpiece are turret lathes.

A lathe equipped with indexing plates, profile cutters, spiral or helical guides, etc. Lathes can be combined with other machine tools, such as a drill press or vertical milling machine. These are usually referred to as combination lathes. Woodworking lathes are the oldest variety.

All other varieties are descended from these simple lathes. An adjustable horizontal metal rail — the tool rest — between the material and the operator accommodates the positioning of shaping tools, which are usually hand-held. After shaping, it is common practice to press and slide sandpaper against the still-spinning object to smooth the surface made with the metal shaping tools.

The tool rest is usually removed during sanding, as it may be unsafe to have the operators hands between it and the spinning wood. Many woodworking lathes can also be used for making bowls and plates. The bowl or plate needs only to be held at the bottom by one side of the lathe. It is usually attached to a metal face plate attached to the spindle. With many lathes, this operation happens on the left side of the headstock, where are no rails and therefore more clearance.

In this configuration, the piece can be shaped inside and out. A specific curved tool rest may be used to support tools while shaping the inside. Further detail can be found on the woodturning page. Most woodworking lathes are designed to be operated at a speed of between and 1, revolutions per minute, with slightly over 1, rpm considered optimal for most such work, and with larger workpieces requiring lower speeds.

One type of specialized lathe is duplicating or copying lathe also known as Blanchard lathe after its inventor Thomas Blanchard. This type of lathe was able to create shapes identical to a standard pattern and it revolutionized the process of gun stock making in the s when it was invented.

Used to make a pattern for foundries , often from wood, but also plastics. A patternmaker's lathe looks like a heavy wood lathe, often with a turret and either a leadscrew or a rack and pinion to manually position the turret.

The turret is used to accurately cut straight lines. They often have a provision to turn very large parts on the other end of the headstock, using a free-standing toolrest. Another way of turning large parts is a sliding bed, which can slide away from the headstock and thus open up a gap in front of the headstock for large parts.

In a metalworking lathe , metal is removed from the workpiece using a hardened cutting tool , which is usually fixed to a solid moveable mounting, either a tool-post or a turret, which is then moved against the workpiece using handwheels or computer-controlled motors.

These cutting tools come in a wide range of sizes and shapes, depending upon their application. Some common styles are diamond, round, square and triangular. The tool-post is operated by lead-screws that can accurately position the tool in a variety of planes. The tool-post may be driven manually or automatically to produce the roughing and finishing cuts required to turn the workpiece to the desired shape and dimensions, or for cutting threads , worm gears , etc. Cutting fluid may also be pumped to the cutting site to provide cooling, lubrication and clearing of swarf from the workpiece.

Some lathes may be operated under control of a computer for mass production of parts see " Computer numerical control ". Manually controlled metalworking lathes are commonly provided with a variable-ratio gear-train to drive the main lead-screw.

This enables different thread pitches to be cut. On some older lathes or more affordable new lathes, the gear trains are changed by swapping gears with various numbers of teeth onto or off of the shafts, while more modern or expensive manually controlled lathes have a quick-change box to provide commonly used ratios by the operation of a lever.

CNC lathes use computers and servomechanisms to regulate the rates of movement. On manually controlled lathes, the thread pitches that can be cut are, in some ways, determined by the pitch of the lead-screw: A lathe with a metric lead-screw will readily cut metric threads including BA , while one with an imperial lead-screw will readily cut imperial-unit -based threads such as BSW or UTS UNF, UNC. This limitation is not insurmountable, because a tooth gear, called a transposing gear, is used to translate between metric and inch thread pitches.

However, this is optional equipment that many lathe owners do not own. It is also a larger change-wheel than the others, and on some lathes may be larger than the change-wheel mounting banjo is capable of mounting. The workpiece may be supported between a pair of points called centres , or it may be bolted to a faceplate or held in a chuck.

A chuck has movable jaws that can grip the workpiece securely. There are some effects on material properties when using a metalworking lathe. There are few chemical or physical effects, but there are many mechanical effects, which include residual stress, micro-cracks, work-hardening, and tempering in hardened materials.

Cue lathes function similarly to turning and spinning lathes, allowing a perfectly radially-symmetrical cut for billiard cues. They can also be used to refinish cues that have been worn over the years. Glass-working lathes are similar in design to other lathes, but differ markedly in how the workpiece is modified. Glass-working lathes slowly rotate a hollow glass vessel over a fixed- or variable-temperature flame.

The flame serves to soften the glass being worked, so that the glass in a specific area of the workpiece becomes ductile and subject to forming either by inflation " glassblowing " or by deformation with a heat-resistant tool. Such lathes usually have two head-stocks with chucks holding the work, arranged so that they both rotate together in unison. Air can be introduced through the headstock chuck spindle for glassblowing.

The tools to deform the glass and tubes to blow inflate the glass are usually handheld. In diamond turning , a computer-controlled lathe with a diamond-tipped tool is used to make precision optical surfaces in glass or other optical materials. Unlike conventional optical grinding, complex aspheric surfaces can be machined easily. Instead of the dovetailed ways used on the tool slide of a metal-turning lathe, the ways typically float on air bearings, and the position of the tool is measured by optical interferometry to achieve the necessary standard of precision for optical work.

The finished work piece usually requires a small amount of subsequent polishing by conventional techniques to achieve a finished surface suitably smooth for use in a lens, but the rough grinding time is significantly reduced for complex lenses. In metal spinning , a disk of sheet metal is held perpendicularly to the main axis of the lathe, and tools with polished tips spoons or roller tips are hand-held, but levered by hand against fixed posts, to develop pressure that deforms the spinning sheet of metal.

Metal-spinning lathes are almost as simple as wood-turning lathes. Typically, metal spinning requires a mandrel, usually made from wood, which serves as the template onto which the workpiece is formed asymmetric shapes can be made, but it is a very advanced technique. For example, to make a sheet metal bowl, a solid block of wood in the shape of the bowl is required; similarly, to make a vase , a solid template of the vase is required.

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Basic features. On-demand options. Paper format. Jane Broughton. In an emirate hellbent on innovation, Nammos brings a glint of old-school island charm and traces of a traditional Greek taverna. The Mykonos original, on high-octane Psarou beach, is something of an institution, so when this outpost opened at the Four Seasons, an expectant crowd of Emiratis and expats was waiting.

Stone steps lead from the sand to a bamboo-canopied terrace and lofty dining room, both styled by London-based design firm Elastic Interiors.

Bleached wood, natural linens and pale walls recall Greek isles while also bouncing around the searingly bright Middle Eastern sunshine. Tall arches afford a glimpse of the Marrone-fitted kitchen, where a Mediterranean menu is whipped up — almost monochrome millefeuilles of crisped aubergine and creamy feta, mezze, sea-bass ceviche.

Service is authentically Greek, with staff flown in from the homeland, and all-day feasting to a bossa nova lounge soundtrack, with bottles of Santorini Sigalas, is the focus. The glammed-up brunch scene is on a par with that of its bigger sister.

Sarah Hedley. Ftelia has long been famous: archaeologists believe a Neolithic settlement uncovered beside the bay to be the tomb of the Homeric hero Ajax.

Its unexpected burnt-orange palette was conceived by designer Fabrizio Casiraghi when he flew over the island for the first time and admired the contrast between the terracotta roof tiles and the white architecture below. The club spills down, amphitheatre-like, towards the sand. But, intriguingly, until now it has only ever inhabited gentrified corners of cities nowhere near, well, an actual beach.

This shabby, endlessly talked-about, perennially loved over-water Caribbean party shack has been totally renovated — surprisingly, by Philippe Starck. Villa owners and islanders had every right to be wary. And yet you can still nurse a beer while the children snorkel with turtles in the bay. Still flop into bleached-teak rocking chairs watching superyachts at anchor. Rough-hewn wooden tables, swinging oversized basket lights and straw-fringed parasols have transformed the old Nassau Beach site.

The food is also on point: baby turbot sashimi, Iberian pork loin, sea bass in a salt crust, all served by staff in pressed desert-coloured linen to match the fat cushions on the benches, the canvas sail shades, Gervasoni sofas and seagrass rugs. Assaona marks a shift for this part of the island — a move away from the booming music and plastic wine glasses of high-summer high-jinks and towards a lovely, low-key destination that has resonance year round.

In-demand Sydney designer Tamsin Johnson led the recent makeover, turning the tiny space into a finger-licking-pretty seaside watering hole with clean sloping lines offset by playful taffy-striped cushions and small sculptural tables. At noon, a handful of large calico umbrellas and calypso-blue chairs convert the driveway into a chilled-out terrace, signalling to those in the know that the bar is open for business.

By mid-afternoon, lo-fi beats are turned up for the late lunchers to kick back with spiked spritzes and seriously good classics such as just-shucked oysters, fish sandwiches and potato scallops dusted with seaweed.

South-coast regulars will recognise this as the old Zazou Beach Club. But funky, home-spun brand Sugar, known for its buzzy restaurants in Colombo and Galle, took over in late , and brought a loyal following. Later in the day, beach sunsets are toasted with two-for-one Mojitos, and the bar remains open until the last customer leaves. And by early next year, there will be eight beachfront rooms next door to crash out in. In , a doctor named Giagkos Stavridis built a complex of holiday apartments in Vouliagmeni, a pine-fringed finger of land curling into a deep-blue bay 12 miles from the Acropolis.

He called it The Margi, after his two daughters, Maria and Gina. That same year, the Astir Palace hotel opened around the headland. And just like that, the Athens Riviera was born. And The Margi is still in the same family. Last summer, architect-owner Giagkos Agiostratitis and his brother Theo snapped up a simple taverna on nearby Zoska Bay and in its place created next-step-up Krabo, a Scorpios -inspired beach bar where the marinated king crab comes with corn bread and salmon roe, and the Aperol Spritz is infused with watermelon syrup.

Local fishermen deliver the catch of the day straight to this new little bar and grill on Ile aux Cerfs, the tiny off-shore private island that has some of the best beaches in Mauritius.

Referencing the rustic shacks where islanders go for barbecued seafood with their families, it has rope swings hanging by the shiplap counter, Phoenix beers in the fridge and sunbeds clustered under straw umbrellas on the sand and in the shade of the filao trees.

And the only way to get here is via the Four Seasons at Anahita, as a hotel guest, taking a boat across the glittering lagoon. Leave espadrilles and flip-flops on board, have a swim in the Indian Ocean , then dig into tuna ceviche with mango and avocado or rock lobster with fiery Creole sauce, plus pineapple dipped in chilli flakes and tamarind sauce for pudding. An authentic island set-up? Not quite — how could it be?

But for Mauritius, it certainly comes closer than anything else its big-name hotels are offering. Peeling-paint canoes transformed into plant-filled cabinets line paths leading to thatched treehouses, a turquoise pool with comfy daybeds and seats for sundowners looking over the surf.

La Brisa feels like Robinson Crusoe sipped a few rums and jazzed up his shacks into a barefoot beach escape. There are nautical nods with chairs made from old barrels and antique buoys fashioned into twinkly lights. This place is more than artfully distressed though; the wood used to build it came from disused boats.

The result? Plenty of upcycled touches, accompanied by scorching sunsets, Basil Beauty cocktails vodka, passion fruit, pineapple and herbs and locally caught seafood.

Service is laid-back, but with surroundings this funky, an island-time approach is forgiveable. Address: La Brisa, Jl. Under a big-top-style canopy of palapa, this open-air beach club is Mexican life in full colour.

Navy-and-white stripes are broken up by vibrant-red bar stools and bright glass goblets, Jackson Pollock-esque ceramic plates are laid on palm-print-tiled tables and white hammocks scallop the perimeter. With uninterrupted views of Xpu-Ha beach, it is an exciting addition to the competitive Riviera Mayan coastline where Esencia hotel , once talked about as a jungle hideaway, has gone up a gear, drawing a crowd that includes Gwen Stefani, Dita Von Teese and Jason Wu.

Mistura is also the latest opening by Greek chef and El Bulli alumnus Dimitris Katrivesis his original restaurant is in Mykonos. And, of course, the Margaritas are brilliant. Instead, a mellow vibe starts at breakfast with healthy fresh-pressed juices watermelon, mint and aloe vera , iced teas and coconut water, and is followed up by sun-sleepy lunches of beetroot, quinoa, burrata and zucchini salads, huge sharing plates of seafood spaghetti and whole sea bass baked in salt.

Here are Greek architects K-Studio doing what they do best: that kind of rustic aesthetic of raffia lanterns, tadelakt floors, patterned Turkish towels and a lo-fi Ibiza-afternoon soundtrack. After lunch, everyone slopes down to the canvas-canopied sunbeds on the beach to swim, paddle-board or leap off the pontoon.

Read the full review of Six Senses Kaplankaya, Turkey. A bright strip of beach bars on the sand softens the impact of the glass-and-concrete seafront of Zandvoort aan Zee.

Inside are sofas in neutral colours, and all too necessary for fickle Northern European summers a couple of open hearths. Children muck about in the sand. Hipster beards grow gritty. The food is good, from bar snacks croquettes, mini spring rolls to light lunches cauliflower-and-tofu burgers and sit-down dinners langoustine bisque, razor clams.

This new seafood joint has already attracted a loyal following of those in the know, both as a relaxed hangout for toes-in-the-sand drinks in the sun and an excellent weekend lunch venue.

Book a table on the cosy, fairy-lit wooden deck overlooking the Mediterranean or, better still, bag one of the rowboat tables, and tuck into snacks and drinks right on the beach. A little quieter and less flashy than sister venue Amante, this new club from English DJ-turned-restaurateur Dave Piccioni already has savvy locals trekking out to out-of-the-way Cala Nova for its superb food and relaxed vibe. The design is globetrotting boho, with driftwood chandeliers, weathered wicker and giant Guatemalan parasols flapping prettily in the breeze.

The food is similarly international: dukkah-crusted chicken and excellent baked sea bass with caponata. Early-morning yoga sessions on the terrace and an Airstream smoothie station give the place a health and wellness feel during the day. Later though, as the sun sets, the crowds gather to order rounds of Amore Aiyanna, the signature off-menu cocktail made from Mezcal Amores, ginger beer, raspberry and chilli.

The nearby beach is ordinary. When Olga Polizzi dreams up a beach club, she does it her way: with easy elegance. At this breezy new spot at the Tresanton Hotel in pretty St Mawes, guests mingle on Mediterranean- style terraces — smart blue-and-white parasols; semitropical plants — sunbathing in swimsuits or sipping cold-pressed juices.

A skip across the street from the hotel, the club sits above Tavern Beach, to which it has direct access. Choose from a menu that includes crab sandwiches, hearty burgers and homemade ice cream. Opening times are British-weather-dependent; prepare to get cosy with a blanket. Revamped by South African architect David Townsend, this Miami -meets- St-Tropez hideaway is a rare find in a city that, while not short on sea-view sundowner spots, bans booze on its beaches.

Just a couple of metres from the Atlantic Ocean, beneath a fleet of swaying palms, a former crayfish warehouse serves as the restaurant with outdoor tables on the sand.

Cocktails include the Grand African Tiki rum, fresh mango and coconut and there are excellent craft beers and local estate wines. The best seat in the house? The private dining area on the water's edge, adjoining one of the several small bars at Grand Beach, all housed in old shipping containers.

With new Mykonos openings such as Scorpios and Jackie O's constantly upping the ante, this year-old classic has had to constantly evolve to stay ahead of the pack. Despite being positively stately by beach-bar standards, Nammos still knows how to have fun: long lunches routinely slide into bacchanalian parties with Leonardo di Caprio holding court.

Seafood is sourced from a boat that works almost exclusively for the club, and there's a beef bar serving the best cuts of Wagyu and kobe. For those who don't fancy tackling the winding road leading down to Psarou beach, make like Mariah Carey and moor a yacht in the bay or, better still, use the helipad. Hidden behind a riot of bougainvillaea, the terraced wooden decks meander down the hillside to the sea and have hosted a smart yachtie set and innumerable Hollywood A-listers for almost 40 years.

Revellers arrive early to snap up a seat at the bar, feed the incongruous flock of tame ducks, and sip a signature Dirtier Diva rum, passion fruit, ginger, lime and chilli. The restaurant has a terrific supper menu, including dishes such as pan-seared sea bass and roast rack of lamb with sun-dried-tomato-and-feta pesto and smashed potato.

Following its closure due to fire a couple of years ago, the re-opening of the Stokehouse venue in beachside St Kilda seemed a long time coming. But it was worth the wait for this laid-back grill and bar with uninterrupted Port Philip Bay views. The Mediterranean-inspired menu includes sharing plates of fresh sardines with harissa and baby back ribs, but regulars are equally enthusiastic about the dozen or so beers on tap and fabulously beachy cocktails such as the Vitamin Sea gin, Cointreau, grapefruit, pineapple, mint, soda.

Pontoon is a joy even in winter - staying toasty indoors near the wood-fired grill while sharing a pizzaor fried prawns and listening to live DJs. At the end of the most perfect whiplash of sand sits this pared-back but top-shelf beach restaurant. Coconut trees, pods of dolphins, a few tunes, water the colour of zircon - it is slam-dunk the most fun spot in the Maldives.

It's where a quick snack becomes a long, glorious feast of an afternoon. But what really elevates the Crab Shack beyond being a cute beach stop-off is the quality of the food.

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