FINITE ELEMENT SIMULATIONS FOR THE COMPREHENSION OF PHYSICAL PHENOMENA INVOLVED IN ELECTRIC IMPEDANCE TOMOGRAPHY OF MASONRY STRUCTURES

The paper describes the preliminary studies of University of Minho on the use of Electric Impedance/Resistance Tomography to assess masonry structures. The study is focused on the analysis of values of current and voltage resulting from the use of an electrical source with voltage and frequency values from a distribution network. The analysis is made from results obtained through computer simulations, using a three-dimensional model of the idealized masonry structures. A finite element program was used for the simulations. Three types of electrodes were used in simulations, and the analysis of the results led to significant conclusions. Later masonry specimens were built and a series of preliminary tests were carried out in the laboratory. The comparative analysis of simulated and experimental results allowed identifying the factors that have influence on the physical results.

Modelagem de motor de combustão internae simulação do processo de queima de combustível

The internal combustion engine is a heat engine widely used in the automotive industry. In order to better understand its behavior many models in the literature have been proposed in the last years. The 0-D thermodynamic model is a fairly simple tool but it is very useful to understand the phenomenon of combustion inside the chamber of internal combustion engines. In the first phase of this work, an extensive literature review was made in order to get information about this kind of analysis and, after this, apply them in a model able to calculate the instantaneous temperature and pressure in one zone of the combustion chamber of a diesel engine. Therefore some considerations were made with the aim of increasing the accuracy of the model in predicting the correct behavior of the engine, adding the combined effects of heat transfer, leakage and injection. In the second phase, the goal was to study the internal flow of a three-dimensional model of an internal combustion engine. In order to achieve this goal the software Solidworks was used to create the geometries of an engine and the suite of softwares Ansys was used to create the moving mesh (ICEM CFD and CFX-Pre) and to solve the CFD problem (Ansys CFX code). The model was able to perform the air flow simulation during the four-stroke cycle of an engine: admission, compression, expansion and exhaust. The results obtained from both models were suitable and they open a new range of possibilities for future researches on the field

Modelagem computacional das túnicas cardíacas para processamento e controle de qualidade

This paper considers a study of the anatomical features of the cardiac system and a three-dimensional model of the different tunics that comprise the heart wall, for processing and quality control of radiological images. The structures are built by the layer overlapping method, where a layer can be understood as a slice of the three-dimensional object. The pericardium, myocardium and endocardium were represented with three-dimensional cylinders and hexagons. The spatial arrangement of the cardiac system is determined by an background image of a real model, which values are defined according to the shape of the region and on the anatomical patients characteristics. The results are significant, considering the anatomical structures details, as well as the representation of the thicknesses of the regions of the heart wall. The validation of the anatomical model was accomplished through comparisons with dimensions obtained from a real model and allows verifying that the model is appropriate. The degree of representation will allow the verification of the influence of radiological parameters, morphometric peculiarities and stage of the diseases on the quality of the images, as well as on the performance of the Computer-Aided Diagnosis (CAD).

Produção de celulases fúngicas por fermentação em estado sólido: ampliação de escala de biorreatores de leito fixo

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Modelagem e análise de tensão em estrutura óssea com implante metálico, através do método dos elementos finitos

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Utilização de material alternativo para a obtenção e caracterização de biomodelos, por meio da técnica de impressão 3DPRINTER

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Termodinâmica de um conjunto de partículas em um bilhar bidimensional dependente do tempo: um gás bidimensional simplificado

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Processos de auto-regulação no curso de vida: controle primário e controle secundário

Este artigo discute conceitos relevantes à perspectiva do curso de vida, porém pouco difundidos no Brasil: controle primário e controle secundário. O primeiro se refere aos esforços que o indivíduo empreende para adaptar o ambiente às suas necessidades; o segundo, para se adaptar ao ambiente. Apresenta-se a formulação original dos conceitos como modelo de dois processos de controle, em oposição a modelos de processo único, como o do desamparo aprendido. Em seguida, discute-se revisão conceitual que trouxe modificação e ampliação para estes construtos, concebendo-os em um modelo bidimensional que articula controle primário e secundário com os conceitos de seleção e compensação. Nesse processo, apresentam-se contribuições no intuito de estimular a reflexão e expandir a discussão teórico-conceitual que envolve estes construtos.

Running coupling and pomeron loop effects on inclusive and diffractive DIS cross sections

Within the framework of a (1 + 1)-dimensional model which mimics high-energy QCD, we study the behavior of the cross sections for inclusive and diffractive deep inelastic gamma*h scattering cross sections. We analyze the cases of both fixed and running coupling within the mean-field approximation, in which the evolution of the scattering amplitude is described by the Balitsky-Kovchegov equation, and also through the pomeron loop equations, which include in the evolution the gluon number fluctuations. In the diffractive case, similarly to the inclusive one, suppression of the diffusive scaling, as a consequence of the inclusion of the running of the coupling, is observed.

O modelo tridimensional físico e seu papel na educação patrimonial

Este artigo versa sobre uma pesquisa integrante do Núcleo de Apoio à Pesquisa em Estudos de Linguagem em Arquitetura e Cidade (N.ELAC), que desenvolve pesquisas em Linguagem e Representação. Entre as diversas formas de representação em arquitetura, a presente pesquisa traz o modelo tridimensional físico como ferramenta que proporciona maior facilidade de leitura do projeto, sendo mais concreta que os desenhos técnicos. Objetiva-se, assim, destacar a importância do modelo físico como meio de aproximação da população ao patrimônio arquitetônico. Como estudo de caso, foi escolhido o Edifício E1, obra de Ernest Mange e Hélio Duarte. Localizado no campus da USP em São Carlos, é considerado patrimônio da cidade, entretanto, encontra-se praticamente enclausurado no interior do campus, dificultando maior contato da comunidade com o edifício. O projeto do edifício utilizou apenas o desenho como representação, não incluindo nenhum tipo de modelo tridimensional (físico ou digital). A partir de um levantamento das representações gráficas utilizadas pelos projetistas, foi possível fazer uma comparação entre o nível de compreensão do projeto apenas com as peças gráficas dos arquitetos e a partir do modelo físico, produzido pela pesquisadora. Foi realizado um pré-teste em escola pública municipal, despertando o interesse desses alunos pelo edifício em questão.

O uso da maquete física como ferramenta de leitura do patrimônio cultural

O presente artigo vincula-se às pesquisas do Núcleo de Apoio à Pesquisa em Estudos de Linguagem em Arquitetura e Cidade (N.ELAC), que atua na área de Linguagem e Representação. Diante das diversas formas de representação em arquitetura (desenho, maquete, modelos digitais), nesta pesquisa o modelo tridimensional físico é trazido como ferramenta que proporciona maior facilidade de leitura do projeto e tratado como meio de aproximação da comunidade ao patrimônio arquitetônico, envolvendo, sobretudo, a arquitetura moderna paulista. Como estudo de caso, escolheu-se o Edifício E1, obra de Ernest Mange e Hélio Duarte. Localizado no campus da USP em São Carlos, é considerado patrimônio da cidade, entretanto, encontra-se praticamente enclausurado no interior do campus, dificultando maior contato da comunidade com o edifício. Durante sua execução, foi utilizado apenas o desenho como ferramenta de representação de projeto, não incluindo nenhum tipo de modelo tridimensional (físico ou digital). A partir do levantamento das representações gráficas utilizadas, foi possível fazer uma comparação entre o nível de compreensão do projeto apenas com as peças gráficas dos arquitetos e a partir do modelo físico, produzido pela pesquisadora. Realizou-se um pré-teste em escola pública municipal, que indicou um aumento no interesse desses alunos pelo edifício em questão.

O uso de modelos nos processos projetuais contemporâneos

Durante o processo de projeto, o arquiteto transpõe suas ideias para o campo real, do concreto. Os diversos modos de expressão e representação têm como função mediar essa interação, diminuindo a distância entre esses dois campos. Vive-se hoje, um momento de intensa transformação das estratégias projetuais, propiciada pelos novos meios digitais. Assim, esta pesquisa, centra-se na comparação entre diversos momentos do uso de modelos nos processos projetivos contemporâneos, através de uma investigação em escritórios de arquitetura paulistanos que utilizam o modelo físico como parte de seus processos de projeto. Busca-se entender qual o papel dessa ferramenta de representação e suas potencialidades nos dias atuais. Como estudo de caso, faz-se uma análise comparativa entre o uso das maquetes digital e física, destacando dois estudos: a maquete do Conjunto Ponte dos Remédios, do arquiteto Marcos Acayaba e as maquetes de estudos elaboradas pelo escritório Andrade Morettin Arquitetos, para o concurso para o Instituto Moreira Salles/SP. Entre os objetivos desse trabalho também se encontra uma análise da contribuição dos modelos físicos no Ensino de Arquitetura.

O uso do modelo físico e digital nos processos de projeto da arquitetura contemporânea

Durante o processo de projeto, o arquiteto transpõe suas ideias para o campo real, do concreto. Os diversos modos de expressão e representação têm como função mediar essa interação, diminuindo a distância entre esses dois campos. Vive-se hoje, um momento de intensa transformação das estratégias projetuais, propiciadas pelos novos meios digitais. Esta pesquisa tem como objetivo o estudo do uso das representações tridimensionais, especificamente dos modelos físicos e digitais. Pretende-se flagrar os momentos contributivos dos modelos no processo projetivo e as características intrínsecas a eles. A discussão busca não apenas destacar a importância dessa ferramenta, como também, traçar uma breve comparação entre a tecnologia digital e a feitura manual. Para este trabalho foram selecionados alguns arquitetos significativos do cenário da arquitetura paulista em cujos projetos comparecem o uso de modelos. Como estudos de caso tem-se a Residência do arquiteto Marcos Acayaba e o projeto vencedor do Concurso para o Instituto Moreira Salles/ SP, do escritório Andrade Morettin Arquitetos. Soma-se a estes objetivos, a apresentação do uso de modelos físicos e digitais em uma experiência didática projetiva.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

Modeling the gas and aqueous phase chemistry of the marine boundary layer

Ein eindimensionales numerisches Modell der maritimenGrenzschicht (MBL) wurde erweitert, um chemische Reaktionenin der Gasphase, von Aerosolpartikeln und Wolkentropfen zu beschreiben. Ein Schwerpunkt war dabei die Betrachtung derReaktionszyklen von Halogenen. Soweit Ergebnisse vonMesskampagnen zur Verfuegung standen, wurden diese zurValidierung des Modells benutzt. Die Ergebnisse von frueheren Boxmodellstudien konntenbestaetigt werden. Diese zeigten die saeurekatalysierteAktivierung von Brom aus Seesalzaerosolen, die Bedeutung vonHalogenradikalen fuer die Zerstoerung von O3, diepotentielle Rolle von BrO bei der Oxidation von DMS und dievon HOBr und HOCl in der Oxidation von S(IV). Es wurde gezeigt, dass die Beruecksichtigung derVertikalprofile von meteorologischen und chemischen Groessenvon grosser Bedeutung ist. Dies spiegelt sich darin wider,dass Maxima des Saeuregehaltes von Seesalzaerosolen und vonreaktiven Halogenen am Oberrand der MBL gefunden wurden.Darueber hinaus wurde die Bedeutung von Sulfataerosolen beidem aktiven Recyceln von weniger aktiven zu photolysierbarenBromspezies gezeigt. Wolken haben grosse Auswirkungen auf die Evolution und denTagesgang der Halogene. Dies ist nicht auf Wolkenschichtenbeschraenkt. Der Tagesgang der meisten Halogene ist aufgrundeiner erhoehten Aufnahme der chemischen Substanzen in die Fluessigphase veraendert. Diese Ergebnisse betonen dieWichtigkeit der genauen Dokumentation der meteorologischenBedingungen bei Messkampagnen (besonders Wolkenbedeckungsgrad und Fluessigwassergehalt), um dieErgebnisse richtig interpretieren und mit Modellresultatenvergleichen zu koennen. Dieses eindimensionale Modell wurde zusammen mit einemBoxmodell der MBL verwendet, um die Auswirkungen vonSchiffemissionen auf die MBL abzuschaetzen, wobei dieVerduennung der Abgasfahne parameterisiert wurde. DieAuswirkungen der Emissionen sind am staerksten, wenn sie insauberen Gebieten stattfinden, die Hoehe der MBL gering istund das Einmischen von Hintergrundluft schwach ist.Chemische Reaktionen auf Hintergrundaerosolen spielen nureine geringe Rolle. In Ozeangebieten mit schwachemSchiffsverkehr sind die Auswirkungen auf die Chemie der MBL beschraenkt. In staerker befahrenen Gebieten ueberlappensich die Abgasfahnen mehrerer Schiffe und sorgen fuerdeutliche Auswirkungen. Diese Abschaetzung wurde mitSimulationen verglichen, bei denen die Emissionen alskontinuierliche Quellen behandelt wurden, wie das inglobalen Chemiemodellen der Fall ist. Wenn die Entwicklungder Abgasfahne beruecksichtigt wird, sind die Auswirkungendeutlich geringer da die Lebenszeit der Abgase in der erstenPhase nach Emission deutlich reduziert ist.