Batching decisions for assembly production systems

The two-stage assembly scheduling problem is a model for production processes that involve the assembly of final or intermediate products from basic components. In our model, there are m machines at the first stage that work in parallel, and each produces a component of a job. When all components of a job are ready, an assembly machine at the second stage completes the job by assembling the components. We study problems with the objective of minimizing the makespan, under two different types of batching that occur in some manufacturing environments. For one type, the time to process a batch on a machine is equal to the maximum of the processing times of its operations. For the other type, the batch processing time is defined as the sum of the processing times of its operations, and a setup time is required on a machine before each batch. For both models, we assume a batch availability policy, i.e., the completion times of the operations in a batch are defined to be equal to the batch completion time. We provide a fairly comprehensive complexity classification of the problems under the first type of batching, and we present a heuristic and its worst-case analysis under the second type of batching.

Metal oxide photoanodes for solar hydrogen production

The development of sustainable hydrogen production is a key target in the further facilitation of a hydrogen economy. Solar hydrogen generation through the photolytic splitting of water sensitised by semiconductor materials is attractive as it is both renewable and does not lead to problematic by-products, unlike current hydrogen sources such as natural gas. Consequently, the development of these semiconductor materials has undergone considerable research since their discovery over 30 years ago and it would seem prescient to review the more practical results of this research. Among the critical factors influencing the choice of semiconductor material for photoelectrolysis of water are the band-gap energies, flat band potentials and stability towards photocorrosion; the latter of these points directs us to focus on metal oxides. Careful design of thin films of photocatalyst material can eliminate potential routes of losses in performance, i.e., recombination at grain boundaries. Methods to overcome these problems are discussed such as coupling a photoanode for photolysis of water to a photovoltaic cell in a 'tandem cell' device.

L'histoire assassinee: Manfredo Tafuri and the present

Italian historian Manfredo Tafuri develops his ‘historical project’ in architecture during the 1960’s and 1970’s in three seminal books, which reach the English speaking specialist audience with a certain delay. Histories and Theories of Architecture (1968), which prepares the ground for the redefinition of a critical and independent history of architecture is first translated in English in 1979. Architecture and Utopia (Progetto e utopia, 1973) is translated in 1976, and becomes a point of reference for architectural histories and for the definition of architectural theories, mainly in the United States. The Sphere and the Labyrinth (1980), translated in 1987, is the text which formally defines and presents the ‘historical project’. Tafuri’s dense and highly politicized prose is often subjected in the English versions to numerous simplifications and reductive interpretations. Yet, the time lag and the space between languages that these translations occupy are inhabited by polemical and fertile reactions to the texts from the world of architectural design. Symptomatic of all, Aldo Rossi’s L’architecture assassinée, a rebuke in drawing to some of Tafuri’s remarks in Architecture and Utopia that seemed to suggest -but the interpretation is arguable– the ‘death’ of architecture as project (progetto). Tafuri’s texts instigate a dialogue between architectural history and practice, particularly relevant at a time in the development of the discipline when history was being redefined in its critical role as a ‘project’ –thus appropriating the active and propositional role traditionally assigned to architectural design–, while architectural design –still coping with the legacy of Modernism and with changed production systems- often found itself relegated to the paper of exhibitions, competitions and theoretical projects. This paper explores the relationship between architectural history and design in Tafuri’s work, focusing on recent reconsideration and interpretations of his work. It argues that, beyond instrumental simplifications, Tafuri’s ‘project’ remains active and essential in architecture’s critical culture today.