Ottimizzazione di una testata per un motore diesel aeronautico

In questo elaborato di tesi ci si è occupati di riprogettare la testata del motore bicilindrico Twin Air del gruppo Fiat. La testata viene ridisegnata al fine di poter destinare questo motore, particolarmente leggero flessibile e dai bassi consumi, ad un uso aeronautico. In questa tesi si è appunto realizzata una nuova testata inserendovi 3 valvole, due di aspirazione e una di scarico, e 2 iniettori per cilinrdo. Una volta completato il disegno sono stati realizzati diversi test attraverso un software di simulazione. In particolare ci si è accertati che la camera di combustione realizzata possa resistere alle alte pressioni e temperature in gioco e che i fluidi scorrano al meglio all'interno dei condotti. Si sono utilizzati i risultati ottenuti per riprogettare iterattivamente la testa ed arrivare a un risultato finale soddisfacente.

Ottimizzazione mediante codici di calcolo open source di componenti per il settore aerospaziale

Lo scopo della presente tesi è sviluppare un ambiente per l'ottimizzazione strutturale di componenti per applicazione aerospaziale utilizzando codici open-source. In particolare, il codice Salome viene utilizzato per il disegno automatico delle strutture, il programma Code Aster permette di effettuare l'analisi agli elementi finiti del componente, mentre Octave viene utilizzato per svolgere l'ottimizzazione basata su un algoritmo euristico e per integrare fra di loro i differenti codici. Le tecniche di ottimizzazione dei componenti stanno rivestendo sempre più importanza visto che le moderne tecniche di Additive Manufacturing permettono di realizzare strutture molto complesse che un tempo non era conveniente (o possibile) realizzare con asportazione di materiale. Nella prima parte della tesi si descrivono gli strumenti software utilizzati e la loro integrazione al fine di parametrizzare la generazione di geometrie ed effettuare in modo automatico analisi strutturali. Successivamente si descrivono tre casi di studio in cui la metodologia è stata sperimentata: un primo caso di validazione in cui si è applicato il metodo alla definizione della geometria di minimo peso per una trave a sbalzo con carico concentrato, un secondo test di ottimizzazione di un longherone per aeromobile, un terzo caso applicativo legato alla ottimizzazione di un serbatoio per fluidi in pressione da utilizzare su un satellite.

Ottimizzazione e riprogettazione di un magazzino ricambi: il caso Ducati Motor Holding Spa

La Tesi tratta di un caso di studio di un magazzino ricambi in ottima di ottimizzazione e riprogettazione. Dall'analisi della situazione attuale in termini di scorte, processo e indice di saturazione volumetrico si evince come una nuova soluzione di magazzino sia l'unica strada da percorrere per fronteggiare l'attesa crescita del business. L'incremento delle vendite e allo stesso tempo il mantenimento dell'alto livello di servizio da garantire al cliente in termini di disponibilità dei codici e puntualità della consegna, sono due condizione che richiedono un innovazione di tipo radicale. Da un progetto a livello di Gruppo si arriva a definire la configurazione ideale del nuovo magazzino e si lascia ad uno sviluppo futuro l'effettiva gestione del tender per definire l'operatore logistico che porterà avanti il lavoro.

Ottimizzazione di un sistema di calcolo Voxel dosimetry e implementazione di grandezze radiobiologiche per MRT

Il presente lavoro di tesi nasce in seguito all’esperienza di tirocinio svolta presso l’Arcispedale Santa Maria Nuova di Reggio Emilia. Fulcro di questo lavoro è lo sviluppo di un sistema di pianificazione della dose per il trattamento dei pazienti sottoposti a Molecular Radionuclide Therapy (MRT). Presso tale struttura ospedaliera è già stato sviluppato uno strumento che si appoggia all’ambiente di lavoro Matlab per il calcolo dosimetrico. Tale programma è chiamato VoxelMed. Si tratta di uno strumento di calcolo che lavora al così detto voxel-level, tecnica di sviluppo recente che permette il calcolo della dose assorbita all’interno di un paziente in modo più dettagliato rispetto ai metodi di calcolo basati unicamente sulla stima media per organo, tipicamente impiegati in dosimetria tradizionale. Parte del lavoro di tesi consiste nell’implementare nuove modalità di calcolo ed aggiungere ulteriori accorgimenti all’attuale versione di VoxelMed. In VoxelMed è stata poi integrata ex-novo una componente di calcolo di misure radiobiologiche, in particolare della BED. La dose assorbita non è infatti un parametro sufficiente per valutare gli effetti della radiazione sui tessuti, a parità di tipo ed energia della radiazione gli effetti possono essere molto variabili. La BED è il parametro che tiene conto della risposta del tessuto sano o cancerogeno alla radiazione. Parte del lavoro è stato svolto sperimentalmente, tramite misure con fantocci acquisiti o preparati ad hoc. In particolare si sono utilizzati diverse tipologie di fantocci, per effettuare protocolli di calibrazione dei sistemi di acquisizione, misure di curve di effetto di volume parziale e test finali di verifica. Per un ulteriore verifica delle prestazioni di calcolo si sono effettuate misurazioni su un gruppo di pazienti e si sono confrontati i risultati con quelli ottenuti dal software maggiormente utilizzato nella pratica clinica, OLINDA/EXM.

Ottimizzazione dei flussi dei materiali e delle persone all'interno di un impianto di produzione. Il caso Galletti spa.

La tesi in oggetto è stata svolta presso la Galletti spa. L'obiettivo iniziale era quello di studiare un percorso all'interno dello stabilimento produttivo al fine di enfatizzare le peculiarità della produzione tenendo conto dei fattori riguardanti la sicurezza. E' stata inoltre realizzata, con l'aiuto di una agenzia di comunicazione, una piattaforma di comunicazione. Analizzando il processo produttivo è emersa un'ulteriore problematica: l'elevata quantità di work in progress stoccati a bordo linea. In particolare, in questa tesi è stata fatta un'analisi preliminare circa una linea di produzione. Sono stati analizzati, in termini di quantità, i prodotti che vengono assemblati in essa, e i codici dei semilavorati utili. In seguito sono state studiate le operazioni che vengono svolte in ogni postazione di lavoro e, in funzione del ciclo di lavoro gli sono stati assegnati i codici dei semilavorati. L'analisi si è conclusa studiando i consumi medi. Le prossime fasi dell'analisi prevedono lo studio dei volumi dei codici e di conseguenza la definizione delle aree di stoccaggio e lo studio dei lotti di produzione.

The refractive folio : exegesis and assessment in the open studio

Folio submission is universally regarded as the most appropriate means for measuring a student’s performance in the studio. However, developing meaningful and defensible assessment criteria is persistent challenge for all tertiary art educators. In discipline-based studios, the parameters provided by medium and technique provide useful points of reference for assessing creative performance. But how can student performance be evaluated when there is no discipline-based framework to act as a point of reference? The ‘open’ studio approach to undergraduate teaching presents these and other pedagogical challenges. This paper discusses the innovative approaches to studio-based teaching and assessment at QUT. Vital to the QUT open studio model is the studio rationale – an exegetical document that establishes an individualised theoretical framework through which a student’s understandings can be, in part, evaluated. This paper argues that the exegetical folio effectively reconciles the frequently divergent imperatives of creative, professional and academic skills, while retaining the centrality of the studio as a site for the production of new material, processual and conceptual understandings.

The studio sans frontières : the open-studio as an answer to the challenges of teaching contemporary art

Since at least the 1960s, art has assumed a breadth of form and medium as diverse as social reality itself. Where once it was marginal and transgressive for artists to work across a spectrum of media, today it is common practice. In this ‘post-medium’ age, fidelity to a specific branch of media is a matter of preference, rather than a code of practice policed by gallerists, curators and critics. Despite the openness of contemporary art practice, the teaching of art at most universities remains steadfastly discipline-based. Discipline-based art teaching, while offering the promise of focussed ‘mastery’ of a particular set of technical skills and theoretical concerns, does so at the expense of a deeper and more complex understanding of the possibilities of creative experimentation in the artist’s studio. By maintaining an hermetic approach to medium, it does not prepare students sufficiently for the reality of art making in the twenty-first century. In fact, by pretending that there is a select range of techniques fundamental to the artist’s trade, discipline-based teaching can often appear to be more engaged with the notion of skills preservation than purposeful art training. If art schools are to survive and prosper in an increasingly vocationally-oriented university environment, they need to fully synthesise the professional reality of contemporary art practice into their approach to teaching and learning. This paper discusses the way in which the ‘open’ studio approach to visual art study at QUT endeavours to incorporate the diversity and complexity of contemporary art while preserving the sense of collective purpose that discipline-based teaching fosters. By allowing students to independently develop their own art practices while also applying collaborative models of learning and assessment, the QUT studio program aims to equip students with a strong sense of self-reliance, a broad awareness and appreciation of contemporary art, and a deep understanding of studio-based experimentation unfettered by the boundaries of traditional media: all skills fundamental to the practice of contemporary art.

Daylighting design in the architectural design studio

This paper discusses two different approaches to teaching design and their modes of delivery and reflects upon their successes and failures. Two small groups of third year design students have been given projects focussing on incorporation of daylighting to architectural design in studios having different design themes. In association with the curriculum, the themes were Digital Tools and Sustainability. Although both studios had the topic of daylighting, the aim and methodology used were different. Digital Tool studio’s aim was to teach how to design daylighting by using a digital tool, where as, Sustainability studio aimed at using scale modelling as a tool to learn about daylighting and integrating it into design. Positive results for providing student learning success within the University context were the students’ chance to learn and practice some new skills –using a new tool for designing; integration of the tutors’ extensive research expertise to their teaching practice; and the students’ construction of their own understanding of knowledge in a student-centred educational environment. This environment created a very positive attitude in the form of exchanging ideas and collaboration among the students of Digital Tools students at the discussion forum. Sustainability group students were enthusiastic about designing and testing various proposals. Problems that both studios experienced were mainly related to timing. Synchronizing with other groups of their studios and learning of a new skill on top of an already complicated process of design learning were the setbacks.

Studio game-on

The studio-gameon event was supported by the Institute of the Creative Industries and Innovation and the Faculty of IT as part of the State Library of Queensland GAME ON exhibition (ex Barbican, UK) The studio produced a full game in six weeks. It was a curated event, a live web-based exhibition, a performance for the public and the team produced a digital / creative work which is available for download. The studio enabled a team of students to experience the pressures of a real game studio within the space of the precincts but also very much in the public eye. It was a physical hypothesis of the University's mantra - "for the real world" statement: Studio GameOn is an opportunity running alongside the GAME ON exhibition at the State Library of Queensland. The exhibition itself is open to the public from November 17th through to February 15th. The studio runs from January 5th to February 13th 2009. The Studio GameOn challenge? To put together a team of game developers and make a playable game in six weeks! The studio-game on team consists of a group of game developers in training - the team members are all students who are either half-way through or completing a qualification in game design and all its elements - we have designers, artists, programmers and productionteam members. We are also fortunate to have an Industry Board consisting of local Queensland Games professionals: John Passfield (Red Sprite Studios), Adrian Cook (WIldfire Studios) and Duncan Curtis and Marko Grgic (The 3 Blokes). We also invite the public to play with us - there is an ideas box both on-site at the State Library and a number of ways to communicate with us on this studio website.

Crossing the cultural divide : a contemporary holistic framework for conceptualising design studio education

While the studio is widely accepted as the learning environment where architecture students most effectively learn how to design (Mahgoub, 2007:195), there are surprisingly few studies that attempt to identify in a qualitative way the interrelated factors that contribute to and support design studio learning (Bose, 2007:131). Such a situation seems problematic given the changes and challenges facing education including design education. Overall, there is growing support for re-examining (perhaps redefining) the design studio particularly in response to the impact of new technologies but as this paper argues this should not occur independently of the other elements and qualities comprising the design studio. In this respect, this paper describes a framework developed for a doctoral project concerned with capturing and more holistically understanding the complexity and potential of the design studio to operate within an increasingly and largely unpredictable global context. Integral to this is a comparative analysis of selected cases underpinned by grounded theory methodology of the traditional design studio and the virtual design studio informed by emerging pedagogical theory and the experiences of those most intimately involved – students and lecturers. In addition to providing a conceptual model for future research, the framework is of value to educators currently interested in developing as well as evaluating learning environments for design.

Fixing the volatile : studio vocal performance techniques

The process of compiling a studio vocal performance from many takes can often result in the performer producing a new complete performance once this new "best of" assemblage is heard back. This paper investigates the ways that the physical process of recording can alter vocal performance techniques, and in particular, the establishing of a definitive melodic and rhythmic structure. Drawing on his many years of experience as a commercially successful producer, including the attainment of a Grammy award, the author will analyse the process of producing a “credible” vocal performance in depth, with specific case studies and examples. The question of authenticity in rock and pop will also be discussed and, in this context, the uniqueness of the producer’s role as critical arbiter – what gives the producer the authority to make such performance evaluations? Techniques for creating conditions in the studio that are conducive to vocal performances, in many ways a very unnatural performance environment, will be discussed, touching on areas such as the psycho-acoustic properties of headphone mixes, the avoidance of intimidatory practices, and a methodology for inducing the perception of a “familiar” acoustic environment.

Changing relationships: activating student and staff engagement in a design studio

In the design studio learning environment, traditional student and staff expectations are of close contact teaching and learning. In recent years at QUT students have experienced reduced personal staff attention, and have increasingly felt “anonymous” and correspondingly disengaged, to the detriment of quality learning (Carbone 1998: 8; Biggs 2003). Concurrently, there has been a necessary increase in teaching by sessional staff at QUT with varied levels of experience and assurance. This paper outlines the first iteration of an action research project exploring whether changing the current QUT design studio student and staff relationships may lead to more engaged, dynamic learning environments. “Engagement” is understood as a primarily emotional, rather than operational student concern (Solomonides and Martin 2008; Austerlitz and Aravot 2007). The project inverted the standard QUT design studio teaching structure, and evaluated the new structure and activation of student engagement across four identified markers: attendance, participation, learning and performance (ACER 2009; NSSE 2005; Chapman 2003). Student and staff surveys and focus groups, corporate data, and informal feedback informed these evaluations. Overall, the results support the premise that when students and staff feel part of a reasonably-sized studio class with a dedicated lecturer and self-selected project, the majority are inclined to value these relationships, to feel actively engaged, and to experience some improvement in their learning and teaching performances.

Spatial stimulus : Model making in the architectural design studio

This action research examines the enhancement of visual communication within the architectural design studio through physical model making. „It is through physical model making that designers explore their conceptual ideas and develop the creation and understanding of space,‟ (Salama & Wilkinson 2007:126). This research supplements Crowther‟s findings extending the understanding of visual dialogue to include physical models. „Architecture Design 8‟ is the final core design unit at QUT in the fourth year of the Bachelor of Design Architecture. At this stage it is essential that students have the ability to communicate their ideas in a comprehensive manner, relying on a combination of skill sets including drawing, physical model making, and computer modeling. Observations within this research indicates that students did not integrate the combination of the skill sets in the design process through the first half of the semester by focusing primarily on drawing and computer modeling. The challenge was to promote deeper learning through physical model making. This research addresses one of the primary reasons for the lack of physical model making, which was the limited assessment emphasis on the physical models. The unit was modified midway through the semester to better correlate the lecture theory with studio activities by incorporating a series of model making exercises conducted during the studio time. The outcome of each exercise was assessed. Tutors were surveyed regarding the model making activities and a focus group was conducted to obtain formal feedback from students. Students and tutors recognised the added value in communicating design ideas through physical forms and model making. The studio environment was invigorated by the enhanced learning outcomes of the students who participated in the model making exercises. The conclusions of this research will guide the structure of the upcoming iteration of the fourth year design unit.

Contribution to the Pamela Croft Sandhills Studio Consultancy for the Yeppoon Public Art Project in 2000

A small collection of creative works developed to acompany some of the artistic images developed by visual artist Dr Pamela Croft for the Yeppoon Public Art Project in 2000.

Animateur : participatory studio-based learning in computer graphics animation

The impact of digital technology within the creative industries has brought with it a range of new opportunities for collaborative, cross-disciplinary and multi-disciplinary practice. Along with these opportunities has come the need to re-evaluate how we as educators approach teaching within this new digital culture. Within the field of animation, there has been a radical shift in the expectations of students, industry and educators as animation has become central to a range of new moving image practices. This paper interrogates the effectiveness of adopting a studio-based collaborative production project as a method for educating students within this new moving-image culture. The project was undertaken, as part of the Creative Industries Transitions to New Professional Environments program at Queensland University of Technology (QUT) in Brisbane Australia. A number of students studying across the Creative Industries Faculty and the Faculty of Science and Technology were invited to participate in the development of a 3D animated short film. The project offered students the opportunity to become actively involved in all stages of the creative process, allowing them to experience informal learning through collaborative professional practice. It is proposed that theoretical principles often associated with andragogy and constructivism can be used to design and deliver programs that address the emerging issues surrounding the teaching of this new moving image culture.