961 resultados para Bajoelagua Factory


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The uncertainty of measurements must be quantified and considered in order to prove conformance with specifications and make other meaningful comparisons based on measurements. While there is a consistent methodology for the evaluation and expression of uncertainty within the metrology community industry frequently uses the alternative Measurement Systems Analysis methodology. This paper sets out to clarify the differences between uncertainty evaluation and MSA and presents a novel hybrid methodology for industrial measurement which enables a correct evaluation of measurement uncertainty while utilising the practical tools of MSA. In particular the use of Gage R&R ANOVA and Attribute Gage studies within a wider uncertainty evaluation framework is described. This enables in-line measurement data to be used to establish repeatability and reproducibility, without time consuming repeatability studies being carried out, while maintaining a complete consideration of all sources of uncertainty and therefore enabling conformance to be proven with a stated level of confidence. Such a rigorous approach to product verification will become increasingly important in the era of the Light Controlled Factory with metrology acting as the driving force to achieve the right first time and highly automated manufacture of high value large scale products such as aircraft, spacecraft and renewable power generation structures.

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This paper describes how dimensional variation management could be integrated throughout design, manufacture and verification, to improve quality while reducing cycle times and manufacturing cost in the Digital Factory environment. Initially variation analysis is used to optimize tolerances during product and tooling design and also results in the creation of a simplified representation of product key characteristics. This simplified representation can then be used to carry out measurability analysis and process simulation. The link established between the variation analysis model and measurement processes can subsequently be used throughout the production process to automatically update the variation analysis model in real time with measurement data. This ‘live’ simulation of variation during manufacture will allow early detection of quality issues and facilitate autonomous measurement assisted processes such as predictive shimming. A study is described showing how these principles can be demonstrated using commercially available software combined with a number of prototype applications operating as discrete modules. The commercially available modules include Catia/Delmia for product and process design, 3DCS for variation analysis and Spatial Analyzer for measurement simulation. Prototype modules are used to carry out measurability analysis and instrument selection. Realizing the full potential of Metrology in the Digital Factory will require that these modules are integrated and software architecture to facilitate this is described. Crucially this integration must facilitate the use of realtime metrology data describing the emerging assembly to update the digital model.

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A tanulmánykötet a globális értékláncok névvel fémjelezett jelenséget veszi górcső alá. A fókuszban a multinacionális vállalatcsoportok ill. a nemzetközi cégek állnak. A tíz tanulmány különböző megközelítések alapján betekintést ad abba, hogy hogyan ragadhatják meg és vizsgálhatják a kutatók a globális értékláncokat a vállalatok, ill. vezetőik nézőpontjából, mi következik a kutatási eredményekből a vállalatok vezetői számára, és milyen következményei vannak a globális értékláncok karakteres és terjedő jelenlétének a nemzetgazdaságok gazdasági politikáit formálókra. A tanulmánykötet szerzői a 2012/2013.tanév tavaszi félévében a Nemzetközi üzleti gazdaságtan c. PhD kurzus hallgatói voltak. ______ The working paper is to provide a Hungarian language overview on the research finding s on Global Value Chain and global factory. The phenomenon behind them is recognized but under researched in Hungary. The chapters of the working paper are to cover as many angles and perspectives of Global Value Chain as many it is possible. Each chapter is based on a published English language paper. Theoretical and conceptual issues, considerations of MNEs and small- and medium sized enterprises and that of national policies are discussed. Authors of the working paper attended the International Business PhD course in the spring semester of 2012/2013.

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General note: Title and date provided by Bettye Lane.

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Inscription: Verso: Women at work: miscellaneous occupations. Isla Del Sol Carolina, pottery factory, Puerto Rico.

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The new engine plant by General Motors (GM) in Joinville-SC, inaugurated on February 27th 2013, incorporates the most advanced automotive technology processes and broad compliance with environmental standards and energy efficiency. The initiatives implemented in this industrial plant include processes with 100% of recycled industrial waste (landfill free) and pioneer systems in energy efficiency and environmental protection, qualifying the plant to obtain the global certification of Leadership in Energy and Environmental Design (LEED). This industrial project reveals the strategic importance of the region and of Brazil in the growth of GM in the world, becoming a reference for studies and project evaluations of "green" factories in the automotive sector. The present study performs an exploratory research based on scientific publications, assessing the direct and indirect impacts on the business outcome, resulting from implementation of industrial serviceoriented sustainability of its operations, referred to in this article as "Green Factory”. We concluded that the adopted technologies focused on sustainability, study and development, represent a new step for the design of new plants and future expansions of the company in the region, combining low operating cost, low environmental impact and conservation of natural resources.

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Luke Banas is a young video artist who lives illegally in the disused Domino sugar refinery in Williamsburg, Brooklyn. While his art is an attempt to fully record and share his own life story, developers want to tear down the building where he works; a building that’s a monument to his hip neighborhood’s industrial past. The novel’s narrator, Lila Fairfax, is a journalist writing her first feature article about Luke and the fate of the factory. Observant and astute, she soon realizes that, despite his obsessive self-revelation, Luke is hiding a secret. Lila’s rational, detached approach to life is disrupted as, in the course of her reporting, she falls in love with Luke and as a result, learns far more than she anticipated. Though primarily a love story, The Sugar Factory is also an investigation of art, and art’s interaction with commerce, history, and new technology.

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Abstract It was in the first decade of the twentieth century that the first white china Factory was implemented in Brazil. Fruit of the association between the Sao Paulo Aristocracy and the Italian Romeo Ranzini, this factory was responsible for producing significant amounts of crockery in industrial moulds in sao Paulo, Brazil. It was also the first factory to produce decorative tiles that would be part of the architecture of the public buildings built between 1919 and 1922 in Commemoration of the Centennial of the Brazilian Independence. Known as The Santa Catharina Factory, this factory was inaugurated in 1913 with the participation of Italian immigrants and German technologies for the development of its first manufacturing activities. As a result of a number of economic, political and social matters that started in the previous century in the city of Sao Paulo, The Santa Catharina factory played an important role in industrial development as regards the production of national white china and was used as a model for the construction of new ceramic factories in Sao Paulo. After acquired by Matarazzo industries in 1927, had closed their activities in 1937. This research is based on the identification and analysis of the first tiles produced in Brazil by the Santa Catharina Factory, which were part of the architectural decorations of the buildings built in Sao Paulo to the celebration of the Centennial of the Brazilian Independence. Designed by Victor Dubugras, The Largo da Memoria (located in the city of Sao Paulo) and the buildings located in the "Paths of the Sea" road marked the beginning of Brazilian industrialization and the emergence of Neocolonial Movement in architecture of Sao Paulo. Studies of the first national patterns of decorative tiles approach a subject poorly researched by experts in tiled studies in Brazil, although in this case these tiles have represented not only an important milestone in the national industrialization, but also have demarcated the significant changes in architectural and decorative practices in the country in the early twentieth century; RESUMÈ: C'est durant la premiere decennie du XXe siecle que la premiere usine de porcelaine blanche fut implant& au Bresil. Elle fut le fruit de l'association entre l'aristocratie de Sao Paulo et l'italien Romeo Ranzini. L'usine produisait une quantite signifiante de porcelaine sur le territoire industriel de Sao Paulo. Ce fut egalement la premiere usine a produire des carreaux decoratifs qui sont aujourd'hui visibles dans l'architecture des batiments publics construit entre 1919 et 1922, pour la commemoration du centenaire de l'independance bresilienne. Connue sous le nom de Santa Catharina, cette usine fut inaugure en 1912. Elle fut construite par des émigrés Italiens, et utilisa pour la technologie allemande pour so production. En tant que resultat d'un certain nombre de questions economiques, politiques et sociales qui ont &butes durant le siecle precedent dans la ville de Sao Paulo, l'usine Santa Catharina a joue un role important dans le developpement industriel de la production de porcelaine blanche nationale et a ete utilise comme modele pour la construction de nouvelles usines de ceramique a Sao Paulo. Apres avoir ete achete par l'industrie Matarazzo en 1927, elle cessa ses activites en 1937. Cette recherche est basee sur l'identification et l'analyse des premiers carreaux decoratifs fabriques au Bresil par l'usine Santa Catharina, qui etait une partie des decorations architecturales des batiments construits a Sao Paulo pour la celebration du centenaire de l'Independance Bresilienne. Connue par Victor Dubugras, le "Largo da Memoria" (situe dans la ville de Sao Paulo), et les batiments situes sur le "Path of the Sea", ont marque le debut de l'industrialisation bresilienne et l'emergence d'un mouvement neocolonialiste dans l'architecture de Sao Paolo. L'etude des premiers modeles nationaux de carreaux decoratifs est un sujet peut etudie par les experts bresiliens, bien qu'ils furent un jalon importante pour l'industrialisation nationale. Its ont egalement entrains des changements importants dans les pratiques architecturales, et decoratives au sein du pays au XXe siecle. Mots-cles: Ceramique - carreaux decoratifs — L'usine Santa Catharina, Bresil - Production de carreaux; RIASSUNTO: Nel primo decennio del Novecento vide luce la prima fabbrica di ceramica di porcellana in Brasile. Frutto dell'associazione tra l'aristocrazia Paulista e l'italiano Romeo Ranzini, questa fabbrica fu responsabile della produzione di notevoli quantita di ceramica di porcellana mediante stampi industriali nella citta di San Paolo, Brasile. Fu anche la prima fabbrica a produrre azulejos che avrebbero poi fatto parte dell'architettura degli edifici pubblici costruiti tra it 1919 ed it 1922, per la commemorazione del Centenario dell'indipendenza Brasiliana. Conosciuta come Fabbrica di Santa Catharina, questa fu inaugurata nel 1913, con la partecipazione di immigrati italiani e con l'impiego di tecnologie tedesche per lo sviluppo delle sue prime attivita produttive. Risultato di una serie di cambiamenti economici, politici e sociali, che ebbero inizio nel secolo precedente nella citta di San Paolo, la Fabbrica di Santa Catharina svolse un ruolo importante nello sviluppo industriale per quanto riguarda la produzione di ceramica di porcellana nazionale e fu adottata come modello per la costruzione di nuove fabbriche a San Paolo. Successivamente, fu acquisita dalle industrie Matarazzo nel 1927, vedendo poi chiudersi le sue attivita nel 1937. Questa ricerca si basa sull'identificazione e l'analisi dei primi azulejos prodotti in Brasile dalla Fabbrica di Santa Catharina che fecero parte delle decorazioni architettoniche degli edifici costruiti a San Paolo per la commemorazione del Centenario dell'indipendenza Brasiliana. Progettati da Victor Dubugras, it Largo da Mem(Via (situato nella citta di San Paolo) e gli edifici che si trovano nei Caminhos do Mar marcarono l'inizio dell'industrializzazione brasiliana e la nascita del Movimento Neocolonial dell'architettura Paulista. Gli studi dei primi modelli di azulejos nazionali affrontano un argomento poco studiato dagli esperti in azulejaria in Brasile, nonostante rappresentino un importante avvenimento dell'industrializzazione nazionale, ma segnano anche i cambiamenti di significative pratiche architettoniche e decorative nel Paese nel primo Novecento. Parole chiave: Ceramica - porcellana - La fabbrica di Santa Catharina - Produzione di ceramica .

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Part 13: Virtual Reality and Simulation

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Part 11: Reference and Conceptual Models

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Universidade Estadual de Campinas. Faculdade de Educação Física

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O artigo discute a trajetória de Manuel Luís da Veiga que, como comerciante em Portugal (seu território natal), investiu na instalação de uma fábrica em Pernambuco após a chegada da família real no Rio de Janeiro, tendo em vista as transformações que à época se processavam no Império português. O foco da análise centra-se no campo das sociabilidades políticas, com destaque para a atuação de Veiga na corte carioca e sua produção literária sobre economia política, entendendo-as como duas dimensões indissociáveis de sua prática social. Defende-se aqui que sua trajetória ilumina um mundo em profunda mudança nos seus paradigmas, impossível de ser sintetizado pelo estabelecimento de um padrão preciso de distinção entre o que era antigo e o que era novidade no início dos oitocentos.