Diesel bus emissions of submicrometer particles measured in a tunnel study

The emission factors of a bus fleet consisting of approximately three hundreds diesel powered buses were measured in a tunnel study under well controlled conditions during a two-day monitoring campaign in Brisbane. The number concentration of particles in the size range 0.017-0.7 m was monitored simultaneously by two Scanning Mobility Particle Sizers located at the tunnel’s entrance and exit. The mean value of the number emission factors was found to be (2.44±1.41)×1014 particles km-1. The results are in good agreement with the emission factors determined from steady-state dynamometer testing of 12 buses from the same Brisbane City bus fleet, thus indicating that when carefully designed, both approaches, the dynamometer and on-road studies, can provide comparable results, applicable for the assessment of the effect of traffic emissions on airborne particle pollution.

Particle and gaseous emissions from compressed natural gas and ultralow sulphur diesel-fuelled buses at four steady engine loads

Exhaust emissions from thirteen compressed natural gas (CNG) and nine ultralow sulphur diesel in-service transport buses were monitored on a chassis dynamometer. Measurements were carried out at idle and at three steady engine loads of 25%, 50% and 100% of maximum power at a fixed speed of 60 kmph. Emission factors were estimated for particle mass and number, carbon dioxide and oxides of nitrogen for two types of CNG buses (Scania and MAN, compatible with Euro 2 and 3 emission standards, respectively) and two types of diesel buses (Volvo Pre-Euro/Euro1 and Mercedez OC500 Euro3). All emission factors increased with load. The median particle mass emission factor for the CNG buses was less than 1% of that from the diesel buses at all loads. However, the particle number emission factors did not show a statistically significant difference between buses operating on the two types of fuel. In this paper, for the very first time, particle number emission factors are presented at four steady state engine loads for CNG buses. Median values ranged from the order of 1012 particles min-1 at idle to 1015 particles km-1 at full power. Most of the particles observed in the CNG emissions were in the nanoparticle size range and likely to be composed of volatile organic compounds The CO2 emission factors were about 20% to 30% greater for the diesel buses over the CNG buses, while the oxides of nitrogen emission factors did not show any difference due to the large variation between buses.

The refractive folio : exegesis and assessment in the open studio

Folio submission is universally regarded as the most appropriate means for measuring a student’s performance in the studio. However, developing meaningful and defensible assessment criteria is persistent challenge for all tertiary art educators. In discipline-based studios, the parameters provided by medium and technique provide useful points of reference for assessing creative performance. But how can student performance be evaluated when there is no discipline-based framework to act as a point of reference? The ‘open’ studio approach to undergraduate teaching presents these and other pedagogical challenges. This paper discusses the innovative approaches to studio-based teaching and assessment at QUT. Vital to the QUT open studio model is the studio rationale – an exegetical document that establishes an individualised theoretical framework through which a student’s understandings can be, in part, evaluated. This paper argues that the exegetical folio effectively reconciles the frequently divergent imperatives of creative, professional and academic skills, while retaining the centrality of the studio as a site for the production of new material, processual and conceptual understandings.

The studio sans frontières : the open-studio as an answer to the challenges of teaching contemporary art

Since at least the 1960s, art has assumed a breadth of form and medium as diverse as social reality itself. Where once it was marginal and transgressive for artists to work across a spectrum of media, today it is common practice. In this ‘post-medium’ age, fidelity to a specific branch of media is a matter of preference, rather than a code of practice policed by gallerists, curators and critics. Despite the openness of contemporary art practice, the teaching of art at most universities remains steadfastly discipline-based. Discipline-based art teaching, while offering the promise of focussed ‘mastery’ of a particular set of technical skills and theoretical concerns, does so at the expense of a deeper and more complex understanding of the possibilities of creative experimentation in the artist’s studio. By maintaining an hermetic approach to medium, it does not prepare students sufficiently for the reality of art making in the twenty-first century. In fact, by pretending that there is a select range of techniques fundamental to the artist’s trade, discipline-based teaching can often appear to be more engaged with the notion of skills preservation than purposeful art training. If art schools are to survive and prosper in an increasingly vocationally-oriented university environment, they need to fully synthesise the professional reality of contemporary art practice into their approach to teaching and learning. This paper discusses the way in which the ‘open’ studio approach to visual art study at QUT endeavours to incorporate the diversity and complexity of contemporary art while preserving the sense of collective purpose that discipline-based teaching fosters. By allowing students to independently develop their own art practices while also applying collaborative models of learning and assessment, the QUT studio program aims to equip students with a strong sense of self-reliance, a broad awareness and appreciation of contemporary art, and a deep understanding of studio-based experimentation unfettered by the boundaries of traditional media: all skills fundamental to the practice of contemporary art.

Daylighting design in the architectural design studio

This paper discusses two different approaches to teaching design and their modes of delivery and reflects upon their successes and failures. Two small groups of third year design students have been given projects focussing on incorporation of daylighting to architectural design in studios having different design themes. In association with the curriculum, the themes were Digital Tools and Sustainability. Although both studios had the topic of daylighting, the aim and methodology used were different. Digital Tool studio’s aim was to teach how to design daylighting by using a digital tool, where as, Sustainability studio aimed at using scale modelling as a tool to learn about daylighting and integrating it into design. Positive results for providing student learning success within the University context were the students’ chance to learn and practice some new skills –using a new tool for designing; integration of the tutors’ extensive research expertise to their teaching practice; and the students’ construction of their own understanding of knowledge in a student-centred educational environment. This environment created a very positive attitude in the form of exchanging ideas and collaboration among the students of Digital Tools students at the discussion forum. Sustainability group students were enthusiastic about designing and testing various proposals. Problems that both studios experienced were mainly related to timing. Synchronizing with other groups of their studios and learning of a new skill on top of an already complicated process of design learning were the setbacks.

Studio game-on

The studio-gameon event was supported by the Institute of the Creative Industries and Innovation and the Faculty of IT as part of the State Library of Queensland GAME ON exhibition (ex Barbican, UK) The studio produced a full game in six weeks. It was a curated event, a live web-based exhibition, a performance for the public and the team produced a digital / creative work which is available for download. The studio enabled a team of students to experience the pressures of a real game studio within the space of the precincts but also very much in the public eye. It was a physical hypothesis of the University's mantra - "for the real world" statement: Studio GameOn is an opportunity running alongside the GAME ON exhibition at the State Library of Queensland. The exhibition itself is open to the public from November 17th through to February 15th. The studio runs from January 5th to February 13th 2009. The Studio GameOn challenge? To put together a team of game developers and make a playable game in six weeks! The studio-game on team consists of a group of game developers in training - the team members are all students who are either half-way through or completing a qualification in game design and all its elements - we have designers, artists, programmers and productionteam members. We are also fortunate to have an Industry Board consisting of local Queensland Games professionals: John Passfield (Red Sprite Studios), Adrian Cook (WIldfire Studios) and Duncan Curtis and Marko Grgic (The 3 Blokes). We also invite the public to play with us - there is an ideas box both on-site at the State Library and a number of ways to communicate with us on this studio website.

Crossing the cultural divide : a contemporary holistic framework for conceptualising design studio education

While the studio is widely accepted as the learning environment where architecture students most effectively learn how to design (Mahgoub, 2007:195), there are surprisingly few studies that attempt to identify in a qualitative way the interrelated factors that contribute to and support design studio learning (Bose, 2007:131). Such a situation seems problematic given the changes and challenges facing education including design education. Overall, there is growing support for re-examining (perhaps redefining) the design studio particularly in response to the impact of new technologies but as this paper argues this should not occur independently of the other elements and qualities comprising the design studio. In this respect, this paper describes a framework developed for a doctoral project concerned with capturing and more holistically understanding the complexity and potential of the design studio to operate within an increasingly and largely unpredictable global context. Integral to this is a comparative analysis of selected cases underpinned by grounded theory methodology of the traditional design studio and the virtual design studio informed by emerging pedagogical theory and the experiences of those most intimately involved – students and lecturers. In addition to providing a conceptual model for future research, the framework is of value to educators currently interested in developing as well as evaluating learning environments for design.

Fixing the volatile : studio vocal performance techniques

The process of compiling a studio vocal performance from many takes can often result in the performer producing a new complete performance once this new "best of" assemblage is heard back. This paper investigates the ways that the physical process of recording can alter vocal performance techniques, and in particular, the establishing of a definitive melodic and rhythmic structure. Drawing on his many years of experience as a commercially successful producer, including the attainment of a Grammy award, the author will analyse the process of producing a “credible” vocal performance in depth, with specific case studies and examples. The question of authenticity in rock and pop will also be discussed and, in this context, the uniqueness of the producer’s role as critical arbiter – what gives the producer the authority to make such performance evaluations? Techniques for creating conditions in the studio that are conducive to vocal performances, in many ways a very unnatural performance environment, will be discussed, touching on areas such as the psycho-acoustic properties of headphone mixes, the avoidance of intimidatory practices, and a methodology for inducing the perception of a “familiar” acoustic environment.

Influence of iodine value on combustion and NOx emission characteristics of a DI diesel engine

Biodiesel is a renewable fuel that has been shown to reduce many exhaust emissions, except oxides of nitrogen (NOx), in diesel engine cars. This is of special concern in inner urban areas that are subject to strict environmental regulations, such as EURO norms. Also, the use of pure biodiesel (B100) is inhibited because of its higher NOx emissions compared to petroleum diesel fuel. The aim of this present work is to investigate the effect of the iodine value and cetane number of various biodiesel fuels obtained from different feed stocks on the combustion and NOx emission characteristics of a direct injection (DI) diesel engine. The biodiesel fuels were chosen from various feed stocks such as coconut, palm kernel, mahua (Madhuca indica), pongamia pinnata, jatropha curcas, rice bran, and sesame seed oils. The experimental results show an approximately linear relationship between iodine value and NOx emissions. The biodiesels obtained from coconut and palm kernel showed lower NOx levels than diesel, but other biodiesels showed an increase in NOx. It was observed that the nature of the fatty acids of the biodiesel fuels had a significant influence on the NOx emissions. Also, the cetane numbers of the biodiesel fuels are affected both premixed combustion and the combustion rate, which further affected the amount of NOx formation. It was concluded that NOx emissions are influenced by many parameters of biodiesel fuels, particularly the iodine value and cetane number.

Carbon dioxide emissions from diesel and compressed natural gas buses during acceleration

Motor vehicle emission factors are generally derived from driving tests mimicking steady state conditions or transient drive cycles. However, neither of these test conditions completely represents real world driving conditions. In particular, they fail to determine emissions generated during the accelerating phase – a condition in which urban buses spend much of their time. In this study we analyse and compare the results of time-dependant emission measurements conducted on diesel and compressed natural gas (CNG) buses during an urban driving cycle on a chassis dynamometer and we derive power-law expressions relating carbon dioxide (CO2) emission factors to the instantaneous speed while accelerating from rest. Emissions during acceleration are compared with that during steady speed operation. These results have important implications for emission modelling particularly under congested traffic conditions.

Diesel engine condition monitoring and simulated diesel knock

This paper discusses diesel engine condition monitoring (CM) using acoustic emissions (AE) as well as some of the commonly encountered diesel engine problems. Also discussed are some of the underlying combustion related faults and the methods used in past studies to simulate diesel engine faults. The initial test involved an experimental simulation of two common combustion related diesel engine faults, namely diesel knock and misfire. These simulated faults represent the first step towards a comprehensive investigation and analysis into the characteristics of acoustic emission signals arising from combustion related diesel engine faults. Data corresponding to different engine running conditions was captured using in-cylinder pressure, vibration and acoustic emission transducers along with both crank angle encoder and top-dead centre (TDC) signals. Using these signals, it was possible to characterise the effect of different combustion conditions and hence, various diesel engine in-cylinder pressure profiles.

Enhancing acoustic emission signals from multi-cylinder diesel engine

This paper presents techniques which can be viewed as pre-processing step towards diagnosis of faults in a small size multi-cylinder diesel engine. Preliminary analysis of the acoustic emission (AE) signals is outlined, including time-frequency analysis, selection of optimum frequency band. Some results of applying mean field independent component analysis (MFICA) to separate the AE root mean square (RMS) signals are also outlined. The results on separation of RMS signals show this technique has the potential of increasing the probability to successfully identify the AE events associated with the various mechanical events.