Material properties under drawing and extrusion with cyclic torsion

A copper bar was drawn while a lead bar was extruded through a cyclically twisting die in a specifically designed experimental rig. The drawing/extrusion load fluctuated at the same frequency as that of die twisting. The load tended to be at a level of monotonic deformation when the die was changing direction. The degree of the reduction in load for both the drawing and extrusion processes depended on the deformation conditions and requires optimisation for industrial application.

Interaction between the coating characteristics of galvanneal steel and forming parameters during flat die drawing

Galvanneal steel is considered to be better for automotive applications than its counterpart, galvanized steel, mainly because of its superior coating and surface properties. Galvanneal steel is produced by hot dipping sheet steel in a bath of molten zinc with small, controlled, levels of aluminium, followed by annealing which creates a Fe-Zn intermetallic layer. This intermetallic layer of the coating improves spot weldability and improves subsequent paint appearance. However, if the microstructure of the coating is not properly controlled and forming parameters are not properly selected, wear of the coating could occur during stamping. Frictional sliding of the sheet between the tool surfaces results in considerable amount of coating loss. An Interstitial Free steel with a Galvanneal coating of nominally 60g/m2 was used for the laboratory experiments. Flat Face Friction (FFF) tests were performed with different forming conditions and lubricants to simulate the frictional sliding in stamping. Glow-Discharge Optical Emission Spectrometry (DG-OES) was used to measure the change in the coating thickness during sliding. Optical microscopy was considered for imaging the surfaces as well as an optical method to compare the changes in the coating thickness during the forming. The change to the Galvanneal coating thickness was found to be a function of forming parameters.

A general rooted tree drawing algorithm

A general rooted tree drawing algorithm is designed in this paper. It satisfies the basic aesthetic criteria and can be well applied to binary trees. Given an area, any complex tree can be drawn within the area in users' favorite styles. The algorithm is efficient with O(LxNxlogN) time complexity and self-adaptive as well.

Cross-discipline collaboration and innovation in the design studio : drawing on the Bath model

As information expands and comprehension becomes more complex, so the need increases to develop focused areas of knowledge and skill acquisition. However, as the number of specialty areas increases so the languages that define each separate knowledge base become increasingly remote. Hence, concepts and viewpoints that were once considered part of a whole become detached. This phenomenon is typical of the development of tertiary education, especially within professional oriented courses, where disciplines and sub-disciplines have grown further apart and the ability to communicate has become increasingly fragmented.
One individual and visionary who was well acquainted with the shortcomings of the piecemeal development between the disciplines was Professor Sir Edmond Happold, the leader of the prestigious group known as Structures 3 at Ove Arup and Partners, who were responsible for making happen some of the landmark buildings of their time, including Sydney Opera House and the Pompidou Centre, and the founding professor of the Bath school of Architecture and Civil Engineering in 1975. While still having a profound respect for the knowledge bases of the different professions within the building and construction industry, Professor Happold was also well aware of the extraordinary synergies in design and innovation which could come about when the disciplines of Architecture and Civil Engineering were brought together at the outset of the design process.
This paper discusses the rational behind Professor Happold’s cross-discipline model of education and reflects on the method, execution and pedagogical worth of the joint studio-based projects which formed a core aspect of the third year program at the School of Architecture and Civil Engineering at the Bath University.

Drawing and the subjectivity of the 'other'

Scenes of the Aboriginal family sitting around a table in the film The Fringe Dwellers present the boy quietly drawing, while other members of the family are engaged in discussion. The boy is less visible, more passive and contemplative, and his subjectivity is suggested rather than explored in the film. He repeats the same activity and the same inward concentration. My hypothesis is that the boy's subjectivity and agency are projected elsewhere, towards an imaginary field beyond the film's structure and beyond the social reality of the film's outside. What is the aboriginal boy drawing? In one scene, is a glimpse of his 'projection', he draws a house. The boy is mesmerised and pre-occupied by his drawing. We have seen the mystery of this preoccupation in images of heroic modernist architects (Le Corbusier, Frank Lloyd Wright, Oscar Niemeyer come to mind) presenting a connection between the hand of the architect and his sketch as an essential gift in the making of a 'master architect'. Through this visual association, the 'Aboriginal boy drawing' is associated with the field of 'a universal human subject' and the essay investigates how his practice might participate in new subjective positions across disciplines. Through his inscriptions, the Aboriginal boy expresses more than a wish: he articulates and inhabits another dwelling, an imaginary dwelling of a subjectivity and 'identity' beyond the black and white divide. The boy, however, is not a 'master', making his drawing a subversive and risky practice.

The design studio: fabricating a sense of architecture in drawing

The purpose of this paper is to provide a platform for investigating the relationship between the student and the tutor via the design drawing and in particular the idea that what gives grounds for architecture to embody something is what is imagined is expressed in the design drawing. It is suggested that in architectural education the sense of architecture's fabricated properties find their apparent expression from the convergence of the tutor and student toward these drawings. In an act of perceptual contortion, there is an endeavour to reconcile what they see with what they think the drawing might suggest. Part of this mental reconstruction is based on the expectation that something is in the drawing to see. The drawing is produced based on the supposition that it will be read, generating a particular conditioning of the student's attitude toward the relevance of the drawing. It is engaged as the receptacle of ideas about what architecture is. The result is that sometimes the emphasis on the drawing as something to be consumed implies a permeation of the supposed sensory qualities of architecture imagined by the student designer, the portrayal of which is indubitably a product of the medium. While this might be commonly experienced in studios, it is proposed that this may be perpetuated in architectural education not merely by the act of drawing itself and what the drawing is, but how the student/tutor exchange contributes to the consciousness of what is portrayed.

Drawing on a Foucaultian genealogy to consider the constructions of psychopathology and sexualities in young people

This paper employs genealogical strategies to analyse examples from our own research in education relating to the construction of psychopathology and sexualities. We consider the application of four angles of scrutiny, discontinuity, contingency, emergences and subjugated knowledges (Foucault 1977, 1980, 1988). We explain the four angles of scrutiny and consider how these can be used to produce research practices commensurate with Foucaultian inspired genealogical strategies. For instance, we argue that subjugated knowledges form a critical component of the four angles of scrutiny. We propose that through their subjugation, these knowledges offer a different perspective to dominant knowledges on sexuality and psychopathology. It is our argument that it is precisely via this subjugation that these types of knowledges offer valuable perspectives to the construction of young people. Furthermore, highlighting contingency, discontinuity, emergences and subjugated knowledges makes for provocative moments, both substantively and methodologically, in the task of qualitative analysis.

Constitutive modelling of drawing and extrusion with cyclic torsion

In the current work, constitutive models are developed to describe the cyclic hardening and softening led by the strain path chaneg.  The contribution of deformation conditions such as drawing and extrusion speed, cyclic rotating angle on the drawing and extrusion force will be investigated.  The development of such constitutive models will provide insight into the optimization of operation conditions to explore the potential of industrial applications.

Effectiveness of recording in primary science : a study of the ability of junior primary school pupils to use drawing as an effective method of communication in science lessons

Drawing as a means of recording is a very common practice in junior primary science lessons. This is largely due to the availability of necessary materials. Also, most youg children have some degree of drawing skill and enjoy drawing activities. Since 1956 the science curriculum to be implemented in primary classrooms in Victoria has changed from one that was based largely on nature study (biological) to one that includes physical and technological aspects. Further, there have been changes in the teaching methodologies advocated for use in science lessons. A modified Interactive Teaching Approach was used for the studies. Drawing was the main means by which the children recorded information. The topic of 'shells' was used to enable collection of data about the children's enjoyment of the activity and satisfaction with their achievement. This study was replicated using the topic 'rocks'; again data were collected concerning satisfaction and enjoyment. During a series of lessons on 'snails' data were collected concerning the achievement of 'process' and 'objective' purposes that teachers might have in mind when setting a drawing activity. In addition to providing data about purposes the study stimulated some questions regarding the techniques the children had used in their drawings. Accordingly, data concerning the use of graphic techniques by the children were collected during a series of lessons on 'oils'. The data collected and analysed in the various studies highlighted the value of drawing in junior primary school science lessons. It also validated strategies developed by the author and designed to help teachers and children use drawing effectively in science activities.