History
In the late 1950s, disillusioned with the design of the classic bicycle, Alex Moulton set about creating a new design. He thought the classic diamond frame was inconvenient to mount, difficult to adjust for size and not suitable for both sexes. He believed that classic bicycles were uncomfortable to ride without the use of wide, low-pressure tyres which increased rolling resistance. He also thought large wheels made a bicycle slow and cumbersome to store, and did not easily fit emerging societal commuting patterns in the developed world, which often combined more than one form of transport.
Moulton considered that small wheels with high-pressure tyres would result in less rolling resistance, less inertia and hence greater acceleration. He then went on to develop a range of high-pressure tyres in cooperation with Dunlop. Suspension for the front and rear was developed to give a comfortable ride with the smaller wheels. In this respect, the Moulton bicycle was truly ahead of its time, as bicycle suspension would not become common for another 30 years.
The Moulton bicycle also featured a different frame instead of the traditional diamond design. It is often known as an F-frame or Lazy F due to its unusual structure. The F-frame had no top tube, as such, and could therefore be easily mounted by those with mobility limitations, whether imposed by physical infirmity or by type of clothing.
Read more about this topic: Moulton Bicycle
Famous quotes containing the word history:
“The history of literaturetake the net result of Tiraboshi, Warton, or Schlegel,is a sum of a very few ideas, and of very few original tales,all the rest being variation of these.”
—Ralph Waldo Emerson (18031882)
“To history therefore I must refer for answer, in which it would be an unhappy passage indeed, which should shew by what fatal indulgence of subordinate views and passions, a contest for an atom had defeated well founded prospects of giving liberty to half the globe.”
—Thomas Jefferson (17431826)
“The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism.... Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images.”
—Camille Paglia (b. 1947)