Sviluppo e validazione di metodologie di analisi numerica per flussi cavitanti all'interno di iniettori ad alta pressione

Il continuo sviluppo dei sistemi di iniezione, rispondente ad aumento di performance unito alla riduzione delle emissioni inquinanti, evidenzia sempre più la necessità di studiare i fenomeni cavitanti che si instaurano all’interno degli iniettori. La cavitazione, infatti, se particolarmente intensa e prolungata nel tempo porta all’erosione del materiale con la conseguente rottura dell’organo elettromeccanico. Attraverso un confronto tra le diverse tipologie di fori iniettore, si è messa a punto una metodologia di analisi per prevedere quali siano le zone dell’iniettore a maggior rischio di danneggiamento per erosione da cavitazione e quale sia l’influenza della geometria su queste. Lo studio è stato effettuato con il software commerciale FLUENT, codice di simulazione fluidodinamica di ANSYS.

Studio preliminare di flusso attorno ad un pantografo per treno ad alta velocità

In questo elaborato di tesi viene presentata la comparazione tra due codici CFD, rispettivamente Fluent e OpenFOAM, mediante simulazioni che sono alla base di uno studio numerico di flusso attorno ad un pantografo per treno ad alta velocità. Si è apprezzato quindi la facilità d’uso di un software venduto tramite licenza e la difficoltà di un software open source come OpenFOAM, il quale però ha vantaggi in termini di adattamento ai casi più specifici. Sono stati quindi studiati due casi, scambio termico in regime laminare attorno ad un cilindro bidimensionale e flusso turbolento completamente sviluppato in un canale. Tutte le simulazioni numeriche hanno raggiunto convergenza e sono state validate positivamente mediante confronto con dati sperimentali. Il primo caso prevede un cilindro investito da un flusso a temperatura minore rispetto alla temperatura della superficie del cilindro; per avere più riscontri, sono state condotte diverse prove a valori differenti del numero di Prandtl, e per ogni simulazione è stato ricavato il corrispettivo numero di Nusselt, successivamente comparato con i dati sperimentali per la validazione delle prove. A partire dalla creazione della griglia di calcolo, è stato effettuato uno studio del fenomeno in questione, creando così una griglia di calcolo sviluppata a valle del cilindro avente maggior densità di celle a ridosso della parte del cilindro. In aggiunta, svolgendo le prove con schemi numerici sia del primo che del secondo ordine, si è constatata la miglior sensibilità degli schemi numerici del secondo ordine rispetto a quelli del primo ordine. La seconda tipologia di simulazioni consiste in un flusso turbolento completamente sviluppato all’interno di un canale; sono state svolte simulazioni senza e con l’uso delle wall functions, e quindi usate griglie di calcolo differenti per i due tipi di simulazioni, già disponibili per entrambi i software. I dati ottenuti mostrano uno sforzo computazionale maggiore per le simulazioni che non prevedono l’uso delle wall functions, e quindi una maggiore praticità per le simulazioni con le wall functions. Inoltre, le simulazioni di questo secondo caso sono state svolte con diversi modelli di turbolenza; in Fluent sono stati utilizzati i modelli k-ε e RSM mentre in OpenFOAM è stato utilizzato solo il modello k-ε in quanto il modello RSM non è presente. La validazione dei risultati è affidata alla comparazione con i dati sperimentali ricavati da Moser et all mediante simulazioni DNS, mettendo in risalto la minor accuratezza delle equazioni RANS.

Studio della fluidodinamica e della reazione chimica in un reattore agitato tramite modellazione cfd

L’attività di tesi è stata rivolta a realizzare l’accoppiamento tra modelli di reazione chimica e modelli di fluidodinamica per una reazione eterogenea solido-liquido in un reattore agitato, in ambito di un codice commerciale di fluidodinamica numerica. Lo studio ha avuto come punto di partenza la definizione e la discretizzazione del dominio di calcolo tramite un apposito programma. Per una trattazione completa, si sono svolti studi preliminari volti ad identificare le incertezze dovute ai metodi numerici e i limiti dovuti alla formulazione dei modelli per la descrizione del sistema. Lo studio si è svolto considerando sistemi di complessità crescente, partendo da simulazioni monofase fino ad arrivare allo studio di diverse soluzioni per sistemi reagenti con reazioni eterogenee solido-liquido. Questi ultimi esempi applicativi sono serviti come verifica del modello sviluppato (dove con modello si è indicato l’insieme dei modelli relativi alla fluidodinamica accoppiati al modello di reazione). Questa attività ha contribuito ad affrontare un problema di simulazione completa e completamente predittiva dei reattori chimici, essendo la letteratura a riguardo limitata, a differenza di quella relativa alle simulazioni puramente fluidodinamiche.

Studio e ricostruzione delle distribuzioni granulometriche interne al grano in motori a propellente solido

The main purposes of this essay were to investigate in detail the burning rate anomaly phenomenon, also known as "Hump Effect", in solid rocket motors casted in mandrel and the mechanisms at the base of it, as well as the developing of a numeric code, in Matlab environment, in order to obtain a forecasting tool to generate concentration and orientation maps of the particles within the grain. The importance of these analysis is due to the fact that the forecasts of ballistics curves in new motors have to be improved in order to reduce the amount of experimental tests needed for the characterization of their ballistic behavior. This graduate work is divided into two parts. The first one is about bidimensional and tridimensional simulations on z9 motor casting process. The simulations have been carried out respectively with Fluent and Flow 3D. The second one is about the analysis of fluid dynamic data and the developing of numeric codes which give information about the concentration and orientation of particles within the grain based on fluid strain rate information which are extrapolated from CFD software.

Analisi del moto di particelle in sospensione mediante simulazioni di fluidodinamica computazionale

La mobilitazione di polveri radioattive nel caso di un incidente di perdita di vuoto (LOVA) all’interno di ITER (International Thermonuclear Experimental Reactor), è uno dei problemi di sicurezza che si sono posti durante la costruzione di tale reattore. Le polveri vengono generate dalla continua erosione da parte del plasma del materiale di contenimento. Ciò porta ad un accumulo delle stesse all’interno della camera di vuoto. Nel caso di un incidente LOVA il rilascio di tali polveri in atmosfera rappresenta un rischio per la salute di lavoratori e della popolazione circostante. Per raccogliere dati su tale tipo di incidente è stata costruita presso il laboratorio dell’università di Tor Vergata una piccola facility, STARDUST, in cui sono stati eseguiti vari esperimenti con delle condizioni iniziali simili a quelle presenti all’interno di ITER. Uno di questi esperimenti in particolare simula la rottura della camera di vuoto mediante l’ingresso di aria in STARDUST, inizialmente posto a 100 Pa, con un rateo di pressurizzazione di 300 Pa s−1. All’interno del serbatoio sono presenti delle polveri che, in differente percentuale, vengono portate in sospensione dal flusso di fluido entrante. In particolare le polveri sono composte da tungsteno (W), acciaio inossidabile (SS – 316 ) e carbonio ( C ). Scopo del presente lavoro è quello di riprodurre il campo di velocità che si genera all’interno di STARDUST nel caso dell’esperimento appena descritto e valutare il moto delle particelle portate in sospensione e la loro successiva deposizione. Ciò viene fatto mediante l’utilizzo di una geometria bidimensionale creata con Salome. Su tale geometria sono costruite differenti mesh strutturate in base al tipo di simulazione che si vuole implementare. Quest’ultima viene poi esportata nel solutore utilizzato, Code_Saturne. Le simulazioni eseguite possono essere suddivise in tre categorie principali. Nella prima (Mesh A) si è cercato di riprodurre i risultati numerici presentati dagli autori della parte sperimentale, che hanno utilizzato il software commerciale Fluent. Nella seconda si è riprodotto il campo di velocità interno a STARUDST sulla base dei dati sperimentali in possesso. Infine nell’ultima parte delle simulazioni si è riprodotto il moto delle particelle sospese all’interno del fluido in STARDUST, valutandone la deposizione. Il moto del fluido pressurizzante è stato considerato come compressibile. Il regime di moto è stato considerato turbolento viste le elevate velocità che provocavano elevati valori del numero di Reynolds per l’aria. I modelli con cui si è trattata la turbolenza sono stati di tre tipi. Il campo di velocità ottenuto è stato leggermente differente nei tre casi e si è proceduto ad un confronto per valutare le cause che hanno portato a tali differenze. Il moto delle particelle è stato trattato mediante l’utilizzo del modello di tracciamento lagrangiano delle particelle implementato in Code_Saturne. Differenti simulazioni sono state eseguite per tenere in considerazione i vari modelli di turbolenza adottati. Si è dunque proceduto ad analizzare similitudini e differenze dei risultati ottenuti.

Differentiation in Male and Female Speech Styles

From the moment of their birth, a person's life is determined by their sex. Ms. Goroshko wants to know why this difference is so striking, why society is so concerned to sustain it, and how it is able to persist even when certain national or behavioural stereotypes are erased between people. She is convinced of the existence of not only social, but biological differences between men and women, and set herself the task, in a manuscript totalling 126 pages, written in Ukrainian and including extensive illustrations, of analysing these distinctions as they are manifested in language. She points out that, even before 1900, certain stylistic differences between the ways that men and women speak had been noted. Since then it has become possible, for instance in the case of Japanese, to point to examples of male and female sub-languages. In general, one can single out the following characteristics. Males tend to write with less fluency, to refer to events in a verb-phrase, to be time-oriented, to involve themselves more in their references to events, to locate events in their personal sphere of activity, and to refer less to others. Therefore, concludes Ms Goroshko, the male is shown to be more active, more ego-involved in what he does, and less concerned about others. Women, in contrast, were more fluent, referred to events in a noun-phrase, were less time-oriented, tended to be less involved in their event-references, locate events within their interactive community and refer more to others. They spent much more time discussing personal and domestic subjects, relationship problems, family, health and reproductive matters, weight, food and clothing, men, and other women. As regards discourse strategies, Ms Goroshko notes the following. Men more often begin a conversation, they make more utterances, these utterances are longer, they make more assertions, speak less carefully, generally determine the topic of conversation, speak more impersonally, use more vulgar expressions, and use fewer diminutives and more imperatives. Women's speech strategies, apart from being the opposite of those enumerated above, also contain more euphemisms, polite forms, apologies, laughter and crying. All of the above leads Ms. Goroshko to conclude that the differences between male and female speech forms are more striking than the similarities. Furthermore she is convinced that the biological divergence between the sexes is what generates the verbal divergence, and that social factors can only intensify or diminish the differentiation in verbal behaviour established by the sex of a person. Bearing all this in mind, Ms Goroshko set out to construct a grammar of male and female styles of speaking within Russian. One of her most important research tools was a certain type of free association test. She took a list comprising twelve stimuli (to love, to have, to speak, to fuck, a man, a woman, a child, the sky, a prayer, green, beautiful) and gave it to a group of participants specially selected, according to a preliminary psychological testing, for the high levels of masculinity or femininity they displayed. Preliminary responses revealed that the female reactions were more diverse than the male ones, there were more sentences and word combinations in the female reactions, men gave more negative responses to the stimulus and sometimes didn't want to react at all, women reacted more to adjectives and men to nouns, and that, surprisingly, women coloured more negatively their reactions to the words man, to love and a child (Ms. Goroshko is inclined to attribute this to the present economic situation in Russia). Another test performed by Ms. Goroshko was the so-called "defective text" developed by A.A. Brudny. All participants were distributed with packets of complete sentences, which had been taken from a text and then mixed at random. The task was to reconstruct the original text. There were three types of test, the first descriptive, the second narrative, and the third logical. Ms. Goroshko created computer programmes to analyse the results. She found that none of the reconstructed texts was coincident with the original, differing both from the original text and amongst themselves and that there were many more disparities in the male than the female texts. In the descriptive and logical texts the differences manifested themselves more clearly in the male texts, and in the narrative texts in the female texts. The widest dispersal of values was observed at the outset, while the female text ending was practically coincident with the original (in contrast to the male ending). The greatest differences in text reconstruction for both males and females were registered in the middle of the texts. Women, Ms. Goroshko claims, were more sensitive to the semantic structure of the texts, since they assembled the narrative text much more accurately than the other two, while the men assembled more accurately the logical text. Texts written by women were assembled more accurately by women and texts by men by men. On the basis of computer analysis, Ms. Goroshko found that female speech was substantially more emotional. It was expressed by various means, hyperbole, metaphor, comparisons, epithets, ways of enumeration, and with the aid of interjections, rhetorical questions, exclamations. The level of literacy was higher for female speech, and there were fewer mistakes in grammar and spelling in female texts. The last stage of Ms Goroshko's research concerned the social stereotypes of beliefs about men and women in Russian society today. A large number of respondents were asked questions such as "What merits must a woman possess?", "What are male vices and virtues?", etc. After statistical manipulation, an image of modern man and woman, as it exists in the minds of modern Russian men and women, emerged. Ms. Goroshko believes that her findings are significant not only within the field of linguistics. She has already successfully worked on anonymous texts and been able to decide on the sex of the author and consequently believes that in the future her research may even be of benefit to forensic science.

Language Construction of Reality in the German Tabloid Press/on Materials of BILD Newspaper/

From the moment of their birth, a person's life is determined by their sex. Goroshko wanted to find out why this difference is so striking, why society is so determined to sustain it, and how it can persist even when certain national or behavioural stereotypes are erased. She believes there are both social and biological differences between men and women, and set out to analyse these distinctions as they are manifested in language. Certain general characteristics can be identified. Males tend to write with less fluency, to refer to events in a verb phrase, to be time-oriented, to involve themselves more in their references to events, to locate events in their personal sphere of activity, and to refer less to others. Goroshko therefore concludes that the male is more active, more ego-involved in what he does and less concerned about others. Women were more fluent, referred to events in a noun-phrase, were less time-oriented, tended to be less involved in their event references, located events within their interactive community, and referred more to others. They spent much more time discussing personal and domestic subjects, relationship problems, family, health and reproductive matters, weight, food and clothing, men, and other women. Computer analysis showed that female speech was substantially more emotional, using hyperbole, metaphor, comparisons, epithets, ways of enumeration, interjections, rhetorical questions and exclamations. The level of literacy was higher in female speech, and women made fewer grammatical and spelling mistakes in written texts. Goroshko believes that her findings have relevance beyond the linguistic field. When working on anonymous texts she has been able to decide on the sex of the author and so believes that her research may even be of benefit to forensic science.

ENHANCING COMMUNICATION THROUGH SUCCESSFUL REPAIR: EXAMINING FLUENCY AND MECHANISMS FOR SYNTACTIC PROGRESS IN APHASIC AND NON-APHASIC SPEECH

The fields of Rhetoric and Communication usually assume a competent speaker who is able to speak well with conscious intent; however, what happens when intent and comprehension are intact but communicative facilities are impaired (e.g., by stroke or traumatic brain injury)? What might a focus on communicative success be able to tell us in those instances? This project considers this question in examining communication disorders through identifying and analyzing patterns of (dis) fluent speech between 10 aphasic and 10 non-aphasic adults. The analysis in this report is centered on a collection of data provided by the Aphasia Bank database. The database’s collection protocol guides aphasic and non-aphasic participants through a series of language assessments, and for my re-analysis of the database’s transcripts I consider communicative success is and how it is demonstrated during a re-telling of the Cinderella narrative. I conducted a thorough examination of a set of participant transcripts to understand the contexts in which speech errors occur, and how (dis) fluencies may follow from aphasic and non-aphasic participant’s speech patterns. An inductive mixed-methods approach, informed by grounded theory, qualitative, and linguistic analyses of the transcripts functioned as a means to balance the classification of data, providing a foundation for all sampling decisions. A close examination of the transcripts and the codes of the Aphasia Bank database suggest that while the coding is abundant and detailed, that further levels of coding and analysis may be needed to reveal underlying similarities and differences in aphasic vs. non-aphasic linguistic behavior. Through four successive levels of increasingly detailed analysis, I found that patterns of repair by aphasics and non-aphasics differed primarily in degree rather than kind. This finding may have therapeutic impact, in reassuring aphasics that they are on the right track to achieving communicative fluency.

Vibrations, Posture, and the Stabilization of Gaze: An Experimental Study on Impedance Control

Vibrations, Posture, and the Stabilization of Gaze: An Experimental Study on Impedance Control R. KREDEL, A. GRIMM & E.-J. HOSSNER University of Bern, Switzerland Introduction Franklin and Wolpert (2011) identify impedance control, i.e., the competence to resist changes in position, velocity or acceleration caused by environmental disturbances, as one of five computational mechanisms which allow for skilled and fluent sen-sorimotor behavior. Accordingly, impedance control is of particular interest in situa-tions in which the motor task exhibits unpredictable components as it is the case in downhill biking or downhill skiing. In an experimental study, the question is asked whether impedance control, beyond its benefits for motor control, also helps to stabi-lize gaze what, in turn, may be essential for maintaining other control mechanisms (e.g., the internal modeling of future states) in an optimal range. Method In a 3x2x4 within-subject ANOVA design, 72 participants conducted three tests on visual acuity and contrast (Landolt / Grating and Vernier) in two different postures (standing vs. squat) on a platform vibrating at four different frequencies (ZEPTOR; 0 Hz, 4 Hz, 8 Hz, 12 Hz; no random noise; constant amplitude) in a counterbalanced or-der with 1-minute breaks in-between. In addition, perceived exertion (Borg) was rated by participants after each condition. Results For Landolt and Grating, significant main effects for posture and frequency are re-vealed, representing lower acuity/contrast thresholds for standing and for higher fre-quencies in general, as well as a significant interaction (p < .05), standing for in-creasing posture differences with increasing frequencies. Overall, performance could be maintained at the 0 Hz/standing level up to a frequency of 8 Hz, if bending of the knees was allowed. The fact that this result is not only due to exertion is proved by the Borg ratings showing significant main effects only, i.e., higher exertion scores for standing and for higher frequencies, but no significant interaction (p > .40). The same pattern, although not significant, is revealed for the Vernier test. Discussion Apparently, postures improving impedance control not only turn out to help to resist disturbances but also assist in stabilizing gaze in spite of these perturbations. Con-sequently, studying the interaction of these control mechanisms in complex unpre-dictable environments seems to be a fruitful field of research for the future. References Franklin, D. W., & Wolpert, D. M. (2011). Computational mechanisms of sensorimotor control. Neuron, 72, 425-442.

Temporal lobe white matter asymmetry and language laterality in epilepsy patients.

Recent studies using diffusion tensor imaging (DTI) have advanced our knowledge of the organization of white matter subserving language function. It remains unclear, however, how DTI may be used to predict accurately a key feature of language organization: its asymmetric representation in one cerebral hemisphere. In this study of epilepsy patients with unambiguous lateralization on Wada testing (19 left and 4 right lateralized subjects; no bilateral subjects), the predictive value of DTI for classifying the dominant hemisphere for language was assessed relative to the existing standard-the intra-carotid Amytal (Wada) procedure. Our specific hypothesis is that language laterality in both unilateral left- and right-hemisphere language dominant subjects may be predicted by hemispheric asymmetry in the relative density of three white matter pathways terminating in the temporal lobe implicated in different aspects of language function: the arcuate (AF), uncinate (UF), and inferior longitudinal fasciculi (ILF). Laterality indices computed from asymmetry of high anisotropy AF pathways, but not the other pathways, classified the majority (19 of 23) of patients using the Wada results as the standard. A logistic regression model incorporating information from DTI of the AF, fMRI activity in Broca's area, and handedness was able to classify 22 of 23 (95.6%) patients correctly according to their Wada score. We conclude that evaluation of highly anisotropic components of the AF alone has significant predictive power for determining language laterality, and that this markedly asymmetric distribution in the dominant hemisphere may reflect enhanced connectivity between frontal and temporal sites to support fluent language processes. Given the small sample reported in this preliminary study, future research should assess this method on a larger group of patients, including subjects with bi-hemispheric dominance.

Student Reciprocal Peer Teaching as a Method for Active Learning: An Experience in an Electrotechnical Laboratory

Active learning is one of the most efficient mechanisms for learning, according to the psychology of learning. When students act as teachers for other students, the communication is more fluent and knowledge is transferred easier than in a traditional classroom. This teaching method is referred to in the literature as reciprocal peer teaching. In this study, the method is applied to laboratory sessions of a higher education institution course, and the students who act as teachers are referred to as ‘‘laboratory monitors.’’ A particular way to select the monitors and its impact in the final marks is proposed. A total of 181 students participated in the experiment, experiences with laboratory monitors are discussed, and methods for motivating and training laboratory monitors and regular students are proposed. The types of laboratory sessions that can be led by classmates are discussed. This work is related to the changes in teaching methods in the Spanish higher education system, prompted by the Bologna Process for the construction of the European Higher Education Area

Neutronics design and radiological aspects of HiPER facilities

En este trabajo se han cubierto diferentes asuntos del diseño neutrónico de los aspectos radiológicos de las dos instalaciones del proyecto HiPER. El proyecto HiPER es un proyecto europeo concebido en el marco del programa ESFRI (European Scientific Facilities Research Infrastructure). Está destinado al desarrollo de la energía de fusión nuclear inercial mediante el uso de láseres y el esquema iluminación directa. Consecuentemente, se trata de una instalación con fines exclusivamente civiles. Se divide en dos fases, correspondientes con dos instalaciones: HiPER Engineering y HiPER Reactor. La instalación HiPER Engineering desarrollará las tecnologías implicadas en la ignición de alta repetición de cápsulas de DT por iluminación directa. El HiPER Reactor será una planta demostradora que produzca electricidad haciendo uso de las tecnologías desarrolladas durante la fase HiPER Engineering. El HiPER Engineering se centrará en las tecnologías relevantes para las igniciones a alta repetición de cápsulas de DT usando la iluminación directa. El principal esfuerzo de desarrollo tecnológico se hará en todos los asuntos directamente relacionados con la ignición: láseres, óptica, inyector, y fabricación masiva de cápsulas entre otros. Se espera una producción de entre 5200 MJ/año y 120000 MJ/año dependiendo del éxito de la instalación. Comparado con la energía esperada en NIF, 1200 MJ/año, se trata de un reto y un paso más allá en la protección radiológica. En este trabajo se ha concebido una instalación preliminar. Se ha evaluado desde el punto de vista de la protección radiológica, siendo las personas y la óptica el objeto de protección de este estudio. Se ha establecido una zonificación durante la operación y durante el mantenimiento de la instalación. Además, se ha llevado a cabo una evaluación de la selección de materiales para la cámara de reacción desde el punto de vista de gestión de residuos radiactivos. El acero T91 se ha seleccionado por, siendo un acero comercial, presentar el mismo comportamiento que el acero de baja activación EUROFER97 al evaluarse como residuo con el nivel de irradiación de HiPER Engineering. Teniendo en cuenta los resultados obtenidos para la instalación preliminar y las modificaciones de la instalación motivadas en otros campos, se ha propuesto una instalación avanzada también en este trabajo. Un análisis más profundo de los aspectos radiológicos, así como una evaluación completa de la gestión de todos los residuos radiactivos generados en la instalación se ha llevado a cabo. La protección radiológica se ha incrementado respecto de la instalación preliminar, y todos los residuos pueden gestionarse en un plazo de 30 sin recurrir al enterramiento de residuos. El HiPER Reactor sera una planta demostradora que produzca electricidad basada en las tecnologías de ignición desarrolladas durante la fase HiPER Engineering. El esfuerzo de desarrollo tecnológico se llevará a cabo en los sistemas relacionados con la generación de electricidad en condiciones económicas: manto reproductor de tritio, ciclos de potencia, vida y mantenimiento de componentes, o sistemas de recuperación de tritio entre otros. En este trabajo la principal contribución a HiPER Reactor está relacionada con el diseño de la cámara de reacción y sus extensiones en la planta. La cámara de reacción es la isla nuclear más importante de la planta, donde la mayoría de las reacciones nucleares tienen lugar. Alberga la primera pared, el manto reproductor de tritio y la vasija de vacío. Todo el trabajo realizado aquí ha pivotado en torno al manto reproductor de tritio y sus interacciones con el resto de componentes de la planta. Tras una revisión profunda de la bibliografía de los diseños recientes de cámaras de reacción con características similares a HiPER Reactor, se ha propuesto y justificado un esquema tecnológico innovador para el manto reproductor de tritio. El material fértil selecconado es el eutéctico 15.7 at.% Litio – 84.3 at.% Plomo, LiPb, evitando el uso de berilio como multiplicador neutrónico mientras se garantiza el ajuste online de la tasa de reproducción de tritio mediante el ajuste en el enriquecimiento en 6Li. Aunque se podría haber elegido Litio purom el LiPb evita problemas relacionados con la reactividad química. El precio a pagar es un reto materializado como inventario radiactivo de Z alto en el lazo de LiPb que debe controlarse. El material estructural seleccionado es el acero de baja activación EUROFER97, que estará en contacto directo con le LiPb fluyendo a alta velocidad. En este esquema tecnológico, el LiPb asegurará la autosuficiente de tritio de la planta mientras el propio LiPb extrae del manto el calor sobre él depositado por los neutrones. Este esquema recibe el nombre de manto de Litio-Plomo auto-refrigerado (SCLL por sus siglas en inglés). Respecto de los conceptos SCLL previos, es destacable que nos e requieren componentes del SiC, puesto que no hay campos magnéticos en la cámara de reacción. Consecuentemente, el manto SCLL propuesto para HiPER presenta riesgo tecnológicos moderados, similares a otros dispositivos de fusión magnética, como el HCLL, e incluso inferiores a los del DCLL, puesto que no se require SiC. Los retos que se deben afrontar son el control del inventario de Z alto así como las tasas de corrosión derivadas de la interacción del LiPb con el EUROFE97. En este trabajo se abordan ambos aspectos, y se presentan los respectivos análisis, junto con otros aspectos neutrónicos y de activación, tales como la protección de la vasija de vacío por parte del material fértil para garantizar la resoldabilidad de por vida en la cara externa de la vasija. También se propone y se estudio un ciclo de potencia de Brayton de Helio para dos configuraciones diferentes de refrigeración del sistema primera pared-manto reproductor. Las principales conclusiones de estos estudios son: i) el inventario de Z alto puede controlarse y es comparable al que se encuentra en dispositivos de fusión similares, ii)la vasija de vacío requiere una mayor protección frente a la radiación neutrónica y iii) las tasas de corrosión son demasiado altas y la temperatura media de salida del LiPb es demasiado baja. Tiendo en cuenta estos resultados juntos con otras consideraciones relacionadas con el mantenimiento de componentes y la viabilidad constructiva, se ha propuesto una evolución de la cámara de reacción. Las evoluciones más destacables son la introducción de un reflector neutrónico de grafito, la modificación de la configuración de la óptica final, la forma y el tamaño de la cámara de vacío y una nueva subdivisión modular del manto. Se ha evaluado desde el punto de vista neutrónico, y su análisis y posterior evolución queda fuera del objeto de este trabajo. Los códigos utilizados en este trabajo son: CATIA para la generación de geometrías 3D complejas MCAM para la traducción de archivos de CATIA a formato de input de MCNP MCNP para el transporte de la radiación (neutrones y gammas) y sus respuestas asociadas ACAB para la evolución del inventario isotópico y sus respuestas asociadas MC2ACAB para acoplar MCNP y ACAB para el cómputo de dosis en parada usando la metodología R2S basada en celda. Moritz para visualizar los reultados de MCNP FLUENT para llevar a cabo cálculos de fluido-dinámica Para llevar a cabo este trabajo, han sido necesarias unas destrezas computacionales. Las más relevantes utilizadas son: generación de geometrás 3D complejas y transmisión a MCNP, diferentes tñecnica de reducción de varianza como importancia por celdas y weight windows basado en malla, metodología Rigorous-two-Steps basada en celdas para el cálculo de dosis en parada y la modificación del código ACAB para el cálculos con múltiples espectros en la misma simulación. Como resumen, la contribución de este trabajo al proyecto HiPER son dos diseños conceptuales de instalación: una para HiPER Engineering y otra para HiPER Reactor. La primera se ha estudio en profundidad desde el punto de vista de protección radiológica y gestión de residuos, mientras que la segunda se ha estudiado desde el punto de vista de operación: seguridad, comportamiento, vida y mantenimiento de componentes y eficiencia del ciclo de potencia.

Pulsatile flow in coronary bifurcations for different stenting techniques

The objective of this work is to analyze the local hem odynamic changes caused in a coronary bifurcation by three different stenting techniques: simple stenting of the main vessel, simple stenting of the main vessel with kissing balloon in the side branch and culotte. To carry out this study an idealized geometry of a coronary bifurcation is used, and two bifurcation angles, 45º and 90º, are chosen as representative of the wide variety of re al configurations. In order to quantify the influence of the stenting technique on the local blood flow, both numeri- cal simulations and experimental measurements are performed. First, steady simulations are carried out with the commercial code ANSYS-Fluent, and then, experimental measurements with PIV (Particle Image Velocimetry) obtained in the laboratory are used to validate the numerical simulation. The steady computational simulations show a good overall agreement with the experimental data. Second, pulsatile flow is considered to take into account the tran- sient effects. The time averaged wall shear stress, scillatory shear index and pressure drop obtained numerically are used to compare the behavior of the stenting techniques.

Traslaciones Poéticas: un recorrido por la Friedrichstrasse de Mies van der Rohe en 1921. Arquitectura, fotografía y cine, la percepción en la arquitectura

El presente ensayo pretende aportar una reflexión sobre el amplio territorio de la imagen en la arquitectura hoy. Para ello un buen ejemplo es el proyecto del Rascacielos de la Friedrichstrasse, realizado por Mies van der Rohe en el periodo de entre guerras de 1921/22. Muchas son las razones que han hecho de esta obra la elegida, pero una más actual sobresale del resto: que de los cientos de ensayos vertidos sobre esta obra solo se haya comentado -salvo alguna excepción- las características objetuales de lo directamente descrito por las vistas -como si fuera un fiel reflejo de la realidad- sin entrar a analizar la verdadera naturaleza física y simbólica de lo representado como expresión subjetiva –espacial- de una arquitectura. Si su importancia como punto de inflexión en el desarrollo inicial de una obra plenamente moderna es un motivo más que suficiente para dedicarle un estudio pormenorizado, ya que puede resultar crucial para comprender los inicios del autor en el Movimiento Moderno. Su presencia como un reducido conjunto de cuatro vistas perspectivas, mezcla de una fotografía del lugar y de un dibujo realizado sobre la misma, acarrea en nuestra opinión significaciones igual de importantes para la comprensión de esta arquitectura que todas aquellas ideas descritas sobre las mismas. Creadas en una época seminal, cuando el lenguaje de la fotografía y el cine están en pleno desarrollo, se puede afirmar que el conjunto de representaciones del Rascacielos de la Friedrichstrasse forman parte como referente histórico de una de las primeras arquitecturas virtuales que pertenecen de pleno derecho al Movimiento Moderno. Paradigma de las más absoluta actualidad, por encontrarse en esa frontera de lo nunca realizado, pero sí asumible espacialmente como realidad fotográfica, las imágenes del rascacielos se pueden considerar así como una de las primeras reflexiones sobre la naturaleza virtual del proyecto arquitectónico postindustrial. No siendo novedoso que la descripción fotográfica de una obra absorba y comunique por sí misma las múltiples propiedades que esta posee, como tampoco lo es que la mayoría de arquitecturas se den por conocidas actualmente a través de los medios. Sorprende que hasta hoy no se hayan analizado con la misma intensidad las múltiples razones que dieron lugar a unas imágenes cuya poética da forma por igual a la arquitectura que representan. Si la intención es reflexionar así sobre este hecho contemporáneo mediante un ejemplo paradigmático, certificado por la historia, nos veremos obligados a emplear una metodología acorde a la condición dual que toda imagen mediatizada produce en su lectura como mezcla fluctuante entre lo que se interpreta de manera autónoma a través de lo representado y de los significados que la imagen adquiere a lo largo de su recorrido como referente histórico. Esta ambivalencia interpretativa llevará a organizar este ensayo mediante dos bloques claramente diferenciados que, complementarios entre sí, siguen el orden de lectura que toda imagen de una arquitectura ofrece a través de los medios. Así, una primera parte, titulada La imagen de una arquitectura, analiza la interpretación que la historia y el autor han dado al rascacielos por medio de su uso en las diferentes exposiciones, revistas, tratados de estilos y monografías de las que ha formado parte. Este recorrido, que es el verdadero espacio donde estas arquitecturas residen, limitado -por una cuestión de poner orden- al estudio a los países que acogieron en vida al autor, servirá para establecer una primera narrativa que expone las diferentes posiciones que la crítica ha producido a lo largo del tiempo. La presencia del primer rascacielos junto al segundo, en la publicación que el arquitecto realiza de manera temprana en Frühlicht, obligará a incorporar esta segunda solución como una parte más del estudio. Cargada de las citas obligadas, de las diferentes personalidades que se han enfrentado a dichos proyectos, este primer análisis historiográfico establece un primer estado de la cuestión donde se revela una lectura ambivalente de los rascacielos. Si la interpretación directa de sus imágenes ha permitido profundizar en las características del vidrio y sus reflejos y en la desnudez de una estructura metálica como claros ejemplos de una expresión moderna y tecnológica de vidrio y el acero. Las particulares formas triangulares del primero y las formas sinuosas del segundo han dado lugar a una multitud de calificaciones, de ser ejemplo tanto de un Expresionismo como de un dadaísmo o constructivismo, que con el tiempo han ido creciendo hacia una admiración artística con una fuerte carga poética. Este lectura histórica, que remata con un breve periodo más actual donde se inicia el cuestionamiento de su carácter utópico y se recupera puntualmente su naturaleza como proyecto, servirá para plantear finalmente una serie de dudas que, sin respuesta aparente, exigen revisar la lectura de sus imágenes como parte de lo que realmente son: expresión de una nueva arquitectura que a partir de ese preciso momento entra de pleno derecho en el Movimiento Moderno. Por otro lado, la existencia en el discurso posterior del arquitecto de un proceso de formalizacion altamente valorado por su autor y la presencia de igual a igual de un lugar en las representaciones y planos de los rascacielos, que la historia parece haber obviado, servirán como razón más que suficiente para la revisión de unas relaciones iniciales con la vanguardia -todavía hoy poco definidas- así como para proponer la lectura renovada de dichas propuestas en altura por lo que también son: proyectos que responden a unas necesidades espaciales de un lugar y tiempo muy determinados. Esta segunda parte, denominada La arquitectura de una imagen, se plantea así más como una inmersión total en el mundo del proyecto que una simple descripción nominal del mismo. Conscientemente simétrica y opuesta a un primer bloque histórico, esta segunda parte -mucho más extensa y parte central de esta tesis- se concentra en el análisis de las imágenes como: aquel conjunto de eventos históricos que aplicados sobre la ciudad, el lugar, el rascacielos, y los procesos técnicos de la imagen dieron lugar a estas arquitecturas como razón de ser. Consecuentemente se tratará pues de bucear en las razones que, ocultas como proceso de formalización, llevaron a Mies a dar un paso más allá hacia a una nueva manera de hacer, ver y pensar su arquitectura, de expresar un espacio. La aproximación a estas imágenes radicará por tanto en resaltar al mismo tiempo la naturaleza de unas representaciones cuyas características fotográficas son el fiel reflejo de una época donde los nuevos medios visuales –cine y fotografía- empiezan a ser cuestionados por su excesiva utilización. La complejidad de unos hechos coincidentes en el tiempo obligará a dividir este estudio en un primer acercamiento general, a la respuesta dada por una mayoría de participantes al concurso, para así cotejar la importancia de una actitud proyectual y contextual común de Mies y sus compañeros. Mezcla de requerimientos y necesidades de la propia historia de la parcela, de las peculiaridades de un lugar y las exigencias programáticas del concurso; el siguiente paso consistirá en reconstruir el proceso de formalización del conjunto de dibujos que caracterizan ambos proyectos para así comprender los mecanismo que, suspendidos como traslaciones entre las diferentes representaciones, operan en la realización física de dichas imágenes y complementan como pensamiento la idea arquitectónica de los mismos. Con lo que se pretende ofrecer dos cosas: una interpretación que tenga en cuenta la novedosa naturaleza de la manera de pensar lo fotográfico en el arquitecto, así como la particular idiosincrasia del momento en que estas concurren. Dicho de otro modo, se realizará una aproximación de las vistas del primer rascacielos que tenga en cuenta la historia tecnológica y visual que rodea al evento y las características de una ejecución física todavía hoy sin aclarar del todo. El descubrimiento de una serie de incoherencias geométricas en las plantas, alzado y vistas del primer proyecto llevará a argumentar la presencia de un trampantojo que, nunca antes revelado, se entiende lleno de unas intenciones espaciales plenamente vanguardistas. Interpretación arquitectónica de las imágenes donde la presencia de una serie de elementos directamente ligados al lenguaje fotográfico y cinematográfico se traduce en una nueva lectura espacial plenamente dinámica llena de dislocación, ritmo y simultaneidad alejada de la idea de ver la forma como un elemento permanentemente fijo. Sugerencia que nos lleva directamente a la lectura del segundo proyecto de rascacielos como una clara continuación de lo imaginado en el primero. Para finalizar, tras una revisión biográfica -previa al proyecto- que desvela unas preocupaciones urbanas y un deseo de cambio anterior al concurso de la Friedrichstrasse, se comparan estas nuevas significaciones espaciales con una práctica de vanguardia que, coetánea a la convocatoria de 1921, demuestran unas investigaciones muy similares con unos mismos intereses cinematográficos. La lectura de las propuestas de tres artistas próximos en ese momento al arquitecto -como son Hans Richter, Moholy-Nagy y El Lissitzky- permiten demostrar unas preocupaciones muy similares a lo conseguido por Mies con los rascacielos que parecen haber servido de ejemplo y motivación mutua para el surgimiento de una nueva espacialidad -más fluida-. Esta lectura permitirá recuperar la importancia de estos dos proyectos como la expresión directa de una nueva manera de pensar y hacer su arquitectura que ya no tendrá vuelta atrás en la obra de Mies. A la vez que recuperar la potencialidad poética de unas vistas que, así definidas reiteradamente por la crítica, se revelan ahora como directas transmisoras de ese deseo de cambio arquitectónico evidenciado en los proyectos posteriores. Racionalización de una poética que al ir más allá de la forma directamente transcrita permite establecer una última reflexión general sobre como opera la imagen en la arquitectura, así como la pertinencia crítica de este proyecto para con el mundo virtual de hoy. En definitiva, más allá del poder evocador de estas representaciones, este será un estudio que pretende cuestionar las características que la imagen de la arquitectura puede proponer más allá de su literalidad por medio de la fascinante interacción que se produce entre la imagen y lo espacialmente imaginado. Encuentros, recursos e intereses de una respuesta plenamente arquitectónica que, además de dar luz a un cambio tan inclasificable como moderno, abre el camino a la interpretación de un proceso de formalizacion que, reiteradamente defendido por su autor justifican una intensidad poética dada por la historia y reafirman una preocupación artística a menudo desmentida por su autor. Dicho de otro modo, si profundizar en las razones arquitectónicas, históricas y técnicas que llevan a Mies a realizar sus rascacielos, por medio de su relación con la vanguardia y el cine, arrojan luz y explican el cambio que se está gestando en el arquitecto cara una nueva espacialidad fluida. Reflexionar sobre su naturaleza espacial -de estas imágenes ya icónicas- equivale a aportar una reflexión crítica sobre la naturaleza simbólica de la imagen de la arquitectura hoy. “Aunque el puesto clave que ocupa el Rascacielos de la Friedrichstrasse dentro de la historia de la arquitectura moderna nunca ha sido seriamente cuestionado, la opinion critica al respecto siempre ha estado dividida. Desde la publicacion de la monografia de Philip Johnson sobre Mies en 1947, el muro cortina como una piel transparente que reviste el esqueleto estructural has ido aclamado como un gran avance pionero. Otros puntos de vista sobre el edificio, subrayando su supuesta planta expresionista, lo han visto como un esfuerzo un poco menos aventurado. Asi calibrada, la propuesta de Mies para la Friedrichstrasse es radicalmente moderna en mas de un sentido enfatizado por Johnson.” 1 W.Tegethoff ABSTRACT This essay reflects on the broad territory of the image in today’s architecture. One good example is the Friedrichstrasse Skyscraper design by Mies van der Rohe in 1921/22, during the period between World Wars I and II. There are many reasons why this work has been chosen, but one of the most recent stands out above the rest: of the hundreds of essays written on this work, comments have been made only (with the odd exception) on the objectual characteristics of what has been directly described by the views (as if it were a genuine reflection of reality), without analysing the real physical and symbolic nature of the representation a subjective (spatial) expression of architecture. If its importance as a point of inflection in the initial development of a completely modern work is more than enough reason to make a detailed study, since it may be crucial for understanding the author’s beginnings in the Modern Movement. Its presence as a reduced set of four views, the combination of a photograph of the place and a drawing made of it, in our opinion, carry meanings that are as important for understanding this architecture as all the ideas described about them. Created during an early period, when the languages of photography and cinema were in full swing, it can be said that the perspectives of the Friedrichstrasse Skyscraper form a historical reference of one of the first virtual architectures that belong entirely to the Modern Movement. A paradigm of the most absolute modernity owing to the fact that it is on that frontier of the never-accomplished, but spatially assumable as photographic reality, the images of the skyscraper can be considered as one of the first reflections on the virtual nature of post-industrial architectural design. There is nothing new in the fact that the photographic description of work absorbs and communicates on its own the multiple properties it involves and there is nothing new in the fact that most architectures become known today through the media. It is surprising that no analysis has been made to date, with the same intensity, of the many reasons that led to a number of images whose poetry add form to the architecture they represent. If the intention is to reflect on this contemporary fact using a paradigmatic example certified by history, we will be forced to use a methodology that corresponds to the dual condition produced by the interpretation of all media images as a fluctuating combination of what is interpreted independently through the representation and meanings the image acquires as a historical reference. This ambivalent interpretation will lead this essay to be structured in two clearly different and complementary blocks that follow the reading order offered by any image of architecture in the media. Thus, a first part, titled The image of an architecture, analyses the interpretation history and the author have given to the skyscraper through its use in the various exhibitions, magazines, style agreements and monographs in which it has been included. This examination, which is the real space in which these architectures reside, is (to delimit and organise the study) restricted to countries in which the author lived during his lifetime and it will help establish a first narrative that considers the different interpretations made by critics over time. The presence of the first skyscraper next to the second one in the publication the architect makes early on in Frühlicht will require the second solution to be incorporated as another part of the study. Laden with necessary quotes by the various personalities who have examined said designs, this first historiographical analysis establishes an initial state of the question that reveals an ambivalent interpretation of skyscrapers. If the direct interpretation of the images has made it possible to closely examine the characteristics of the glass and its reflections and the nudity of a metal structure as clear examples of a modern and technological expression of glass and steel. The particular triangular shapes of the former and the sinuous shapes of the latter have generated many classifications that suggest it is an example of Expressionism, Dadaism or Constructivism, which have grown over time into artistic admiration laden with poetry. This historical reading, which concludes with a more recent short period that begins to question the utopian character and recovers its nature as a project, will finally consider a number of doubts that have no apparent answer and require a revision of the reading of the images as part of what they actually are: expression of a new architecture that becomes part of the Modern Movement as from that precise moment. In addition, the existence in the architect’s subsequent discourse of a formalisation process highly valued by the author and the equal presence of a place in the representations and plans of a skyscraper history seems to have forgotten, will stand as more than sufficient reason for a revision of initial relations with the avantgarde -not particularly well defined today- together with a renewed reading of said vertical proposals for what they also are: projects that respond to the special needs of a very specific place and time. This second part, titled The architecture of an image, is presented more as a total immersion in the project world than a mere nominal description of it. Deliberately symmetrical and opposite to a historic first bloc, this second part (much longer and central part of the thesis) it will focus on analysing images as: the set of historical events that affected the skyscraper, city, place and technical processes image to provide these architectures with their raison d’être. Consequently, the aim is to delve in the reasons which, hidden as a formalisation process, led Mies to move on to a new form of doing, seeing and thinking his architecture, of expressing a space. The approach to these images will therefore lie in highlighting the nature of a number of representations whose photographic features are the true reflection of a period in which the new visual media (cinema and photography) begin to be questioned due to excessive use. The complexity of facts that coincide in time will require this study to be divided into a first general approach, with a response given by most of the participants in the competition, to compare the importance of a common approach in terms of project and context of the response given by Mies and his colleagues. A combination of requirements and needs of the very history of the plot of land, the peculiarities of a place and the programmatic requirements of the competition; the next step will reconstruct the formalisation process of the set of drawings that characterise both to understand the mechanism which, suspended like translations between the different representations, operates in the realisation of said images and complements as thought their architectural idea. The aim is thus to offer two things: an interpretation that takes into account the new way in which the architect works with photography, together with the particular idiosyncrasy of the moment at which they occur. In other words, the approach will focus on the views of the first skyscraper, which takes into account the technological and visual history that surrounds the event and the characteristics of a physical execution that still remains unexplained in full. The subsequent discovery of a number of geometrical incoherences in the floor plans, elevations and views of the first project will lead to an argument for the presence of trompe l’oeil which, never before revealed, is seen as laden with completely avant-garde spatial intentions. Architectural interpretation of the images where the presence of a number of elements directly linked to the languages of photography and cinema is translated into a new spatial reading that is completely dynamic and full of dislocation, rhythm and simultaneity far-removed from the idea of seeing shape as a permanently fixed element. This suggestion takes us to directly to the second skyscraper design as a clear continuation of what he imagined in the first. To end, after a preliminary biographical revision (previous to the project) that reveals urban concerns and a desire for change before the Friedrichstrasse competition, a comparison is made of these new spatial meanings with avant-garde practice which, contemporary with the 1921 competition, show very similar investigations with the same cinematographic interest. The reading of the proposals of three artists close to the architect at that time -i.e. Hans Richter, Moholy-Nagy and El Lissitzky- reveals concerns that are very similar to what Mies achieved with the skyscrapers that seem to have been used as an example and mutual motivation for the creation of a new (more fluent) spatiality. This interpretation will make it possible to recover the importance of these two projects as the direct expression of a new way of thinking and doing his architecture that was to remain fixed in Mies’ work. This also gives rise to the possibility of recovering the poetic potential of views which, as defined repeatedly by the critics, now stand as the direct transmitters of the desire for architectural change shown in later projects. A rationalisation of poetry which, by going beyond the directly transcribed form, gives rise to the establishment of one general final reflection on how the image works in architecture, together with the critical relevance of this design for today’s virtual world. In short, beyond the evocative power of images this will be a study which questions the characteristics the image of architecture can propose beyond its literality through the fascinating interaction between the image and spatially imagined. Encounters, resources and interests of a completely architectural response that, besides sheds light to a change that is as non-classifiable as it is modern, shows the way to the interpretation of a formalisation process which, repeatedly defined by the author, justifies a poetic intensity and confirms an artistic concern often denied by the author. In other words, examining the architectural, historical and technical reasons that led Mies to create his skyscrapers, thanks to its relationship with the avant-garde and cinema, sheds light on and explains the change taking place in the architect with regard to a new fluent spatiality. Reflecting on the spatial nature -of these iconic images- is tantamount to a critical reflection on the symbolic nature of architecture today. “Although the key position of the Friedrichstrasse Office Building within the early history of modern architecture has never been seriously challenged, critical opinion on it has always been divided. Ever since the publication of Philip Johnson’s monograph on Mies in 1947, the curtain wall as a transparent skin sheathing the skeleton structure has frequently been hailed as a pioneering breakthrough. Other views of the building, stressing its supposedly Expressionist plan, have seen it as a somewhat less adventurous effort. In fact, the project has never been regarded in abroad context. Thus measured, Mies’s proposal fro Friedrichstrasse is radically modern in more than the one respect emphasized by Johnson.” 1 W.Tegethoff

Sistema eléctrico y de control de potencia de un túnel aerodinámico = Design of the power distribution and control system for a wind tunnel facility

Este proyecto trata de diseñar el sistema eléctrico y de control de potencia de una maqueta del túnel aerodinámico ACLA-16 de la Universidad Politécnica de Madrid (UPM). Dicha maqueta se utiliza para estudiar el efecto de la capa límite atmosférica, debido a su importancia en el impacto sobre estructuras civiles. Primero se desarrolla una parte teórica sobre qué son los túneles aerodinámicos, las aplicaciones que tienen y conceptos básicos acerca de la capa límite atmosférica. Luego se analiza el diseño geométrico de la maqueta del túnel y se detallan los elementos que debe tener el sistema eléctrico. Además, se realiza una simulación por ordenador con un programa de CFD (Fluent) para comparar los resultados experimentales reales con los resultados numéricos de la simulación para comprobar si se pueden extraer resultados aceptables por ordenador y así ahorrar costes y tiempo en el estudio de ensayos.