Academic literature on the topic 'Art metal-work History'
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Journal articles on the topic "Art metal-work History"
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Варивончик, A. В., І. С. Бондар, Б. М. Мазур, and І. В. Швець. "ТЕХНОЛОГІЧНІ ПРОЦЕСИ У ВИГОТОВЛЕННІ ХУДОЖНІХ ВИРОБІВ З МЕТАЛУ: ІСТОРИЧНИЙ КОНТЕКСТ ТА ШЛЯХИ ВІДРОДЖЕННЯ." Art and Design, no. 2 (August 11, 2021): 96–104. http://dx.doi.org/10.30857/2617-0272.2021.2.9.
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The aim of the work is to clarify the peculiarities of the development of Ukrainian art metal products in a historical context and to determine the ways of reviving artistic metalworking in the XXI century. Methodology. The research is based on culturological, historical and art history methods of analysis; applied historical-analytical, cultural-historical and the method of figurative-stylistic analysis of the means of artistic and decorative expressiveness of products. Results. The article examines the main stages in the development of technological processes in the execution of artistic metal products. The main techniques of artistic metal processing are analyzed: "lost wax", filigree, engraving, casting, forging, diffusion, electroplating, etc. The influence of external and internal factors in the development of artistic metal processing in Ukraine is studied. Identified the existing problems in the manufacture of art items from metal. Scientific novelty. The facts of the development of technologies for artistic metal processing in Ukraine are revealed and the ways of reviving the production of metal products as a type of decorative and applied art are determined. Practical significance. In the art of artistic metal processing, we highlight the issues of the revival and preservation of the industry in modern Ukraine through the study of technologies, traditions, the search for new forms, methods and techniques of working with materials.
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Pyka, Katarzyna. "W skali szarości – krótka historia srebrzystego ołowiu łączącego kolorowe szkła witrażowe." Narracje o Zagładzie, specjalny (June 21, 2021): 291–309. http://dx.doi.org/10.31261/noz.2021.dhc.13.
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Katarzyna Pyka discusses lead as a substance which for centuries has made possible stained glass glazing both in sacral and secular buildings. This article focuses on the uses of lead and compares the work of stained glass artists in the past and today. Contrary the associations of this craft with vivid multicolored compositions, Pyka has decided to keep her discussion in grayscale; her purpose has been to emphasize the importance of this silvery metal, which has enriched the history of art from the Middle Ages by making possible the beauty of stained glass compositions.
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Zotkina, L. V., and R. V. Davydov. "Tools Used in Tagar Rock Art: Findings of an Experimental Traceological Study." Archaeology, Ethnology & Anthropology of Eurasia 50, no. 3 (October 5, 2022): 60–71. http://dx.doi.org/10.17746/1563-0110.2022.50.3.060-071.
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We describe the findings of traceological analysis and experiments with bronze and iron tools used by Tagar and Tes artists. The pecking traces these tools leave on the red Devonian sandstone were examined to assess which of them could have been used in rock art production. At the first stage, a preliminary analysis of Tagar petroglyphs was carried out, and metal tools and weapons from the Martyanov Museum of Local History in Minusinsk were examined. Morphologically suitable ones were selected, and experimental tools were made of stone, copper alloys, and low-carbon steel. Experiments were conducted and samples of pecking traces were produced. The final stage of the work consisted of comparing these samples with actual petroglyphs, and use-wear traces on the experimental tools with those on the actual tools. This approach made a direct comparison possible. Among the Tagar and Tes metal tools, those that had likely been used in rock art production were detected. The conclusion was made that no specialized tools designated for that purpose existed at that time in the Minusinsk Basin. Rather, multifunctional tools were used. These were made of tin bronze and low-carbon steel with thermal processing. Such tools first appeared in the region in the Early Iron Age.
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Zhukenova, Zhazira D., and Zhazira Zh Zhekibaeva. "Development Stages of the Modern Jewelry Art in Kazakhstan." Observatory of Culture 16, no. 3 (July 19, 2019): 322–32. http://dx.doi.org/10.25281/2072-3156-2019-16-3-322-332.
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In the context of globalization of the modern world and the growth of intercultural interaction, the question of spiritual development of the nation, the issues of formation, establishment, and the main trends in the further evolution of its art become the subject of research by many art historians, who, through the use of their topical articles and speeches, have made conditions for the further improvement of art studies in Kazakhstan.Currently, the Republic of Kazakhstan is on the way of radical changes in its political, economic and cultural system, which became possible with the acquisition of Kazakhstan’s status as a sovereign state.Scientists of Kazakhstan — historians, ethnographers, culturologists, art experts of the 20th—21st centuries — conducted comprehensive studies of the history, culture and art of the Kazakh people. Special attention was paid to description of the traditional types of applied art (felting, weaving, embroidery), as well as the work of master jewelers.While the traditional types of applied art have been widely described and studied by art historians in ethno-cultural aspects, the professional jewelry art of Kazakhstan, the work of modern national masters are still insufficiently investigated, including the issues of archaic and traditional forms interpretation in today’s jewelry art.Contemporary jewelry artists working in the most topical forms keep the Kazakh traditions of jewelry craftsmanship: they use generally accepted techniques of metal processing in their works, creatively interpret traditional forms.The active use of the established techniques by modern masters is complemented by the latest technology.The artistic features of modern jewelry are based on the author’s interpretation of forms and techniques of traditional jewelry art; there is a kind of synthesis: a mixture of traditions of the Kazakh craft, techniques of folk applied art, and current artistic trends.
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Матоліч, І. Я. "ТЕНДЕНЦІЇ РОЗВИТКУ КОВАЛЬСЬКОГО МИСТЕЦТВА (ЗА ПІДСУМКАМИ МІЖНАРОДНОГО ФЕСТИВАЛЮ «СВЯТО КОВАЛІВ», М. ІВАНО-ФРАНКІВСЬК)." Art and Design, no. 2 (September 21, 2020): 72–83. http://dx.doi.org/10.30857/2617-0272.2020.2.6.
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The article defines and outlines the processes of artistic blacksmithing revival in Ivano-Frankivsk based on the results of the annual International Festival “Sviato Kovaliv” (Blacksmith Festival). The attention is riveted on the analysis of artistic features of forged sculptural compositions that complement the urban environment, and their art history analysis has been carried out. Methodology. The methodological background is the principle of system approach and integrated research. The historical, comparative and art history methods have been used for the study of the selected object of research. Results. It has been established that one of the biggest in Eastern Europe is the International Blacksmith Festival “Sviato Kovaliv” in Ivano-Frankivsk which began its activities in 2003. The purpose of this event is the revival of blacksmithing traditions forgotten in Ukraine in the Soviet times and popularization of the artistic metal as a craft and an art. It has been defined that in the space of a few years the event has developed from the amateur level into the large-scale international project which nowadays includes a complex of events: public demonstration of blacksmithing, performances, competitions, international scientific conference, and art exhibition of blacksmithing. It has been established that one of the results of festival is the production of joint blacksmith’s works, which nowadays complement the urban environment of Ivano-Frankivsk, and their artistic features have been analysed. It has been found out that metal artworks can be both functional and decorative, often with a deep idea. The scientific novelty lies in the study of important aspect of the modern artistic blacksmithing revival in Ukraine using the example of the International Festival “Sviato Kovaliv” (Blacksmith Festival) in Ivano-Frankivsk. The attention is focused on the artistic features of forged chased work. Practical significance. The research allows broadening your knowledge about the artistic blacksmithing development in Ivano-Frankivsk that contributes to the attraction of obtained information in the study of modern blacksmithing in Halychyna (Galicia).
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AL-HARITHY, HOWAYDA. "The ewer of Ibn Jaldak (623/1226) at the Metropolitan Museum of Art: the inquiry into the origin of the Mawsilī School of metalwork revisited." Bulletin of the School of Oriental and African Studies 64, no. 3 (October 2001): 355–68. http://dx.doi.org/10.1017/s0041977x01000209.
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Among his many studies of Mawsilī metal work, D.S. Rice focuses on a group of five objects produced by a single workshop, that of Ahmad al-Dhakī al-Mawsilī, between 620/1223 and 640/1242. Among them the Cleveland ewer (620/1223) and the Louvre basin made for the Ayyūbid Sultān al-‘Ādil II (636–8/1238–40). One object, only briefly described by Rice and not studied in detail, for Rice did not have access to it at that time, is the ewer of Ibn Jaldak, the subject of this article. The aim of this paper is to revisit the question of origin of the Mawsilī School of metalwork through the close examination of this single object—the Maxsilī ewer now in the Metropolitan Museum (no. 91.1.586) made by Ibn Jaldak in 623/1226. The ewer represents a turning point in the development of Mawsilī metalwork and a key piece to the puzzle. By tracing its origin the article attempts to shed light on the larger question of the origin of the Mawsilī School and its metalworkers.
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Shigurova, Tat'yana Alekseevna. "Permanent metal jewelry in Mordovian female costumes: ethno-culturological aspect." Культура и искусство, no. 7 (July 2021): 1–16. http://dx.doi.org/10.7256/2454-0625.2021.7.36111.
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This article trace the origins of using permanent metal jewelry in traditional clothing of the Mordovian people, as well as characterizes the role of metal products in culture. From the perspective of the currently popular brocade, sparkling fabrics, it seems relevant to refer to the domestic tradition of costume embroidery with metal pendants, beads, pearls that shine in the sun, and to the analysis of peculiarities of of Erzya and Moksha embroidery of the XIX – early XX centuries, known for simple but very effective methods of decorating female costume. The novelty of this work is defined by the absence of special research dedicated to permanent metal décor of the Mordovian costume; the need to determine the ratio between natural and synthetic materials used in embroidery; their interrelation with the traditional norms and aesthetic preferences of the Mordovian people. The object of this research is the traditional Mordovian costume, while the subject is the specificity of including small metal items (pendants, beads, pearls) into embroidery of the elements of festive and ritual clothes of the XIX – early XX centuries. The goal consists in analysis of the tradition of using metal items in embroidery, as well as in cognition of the meanings of this material in folk culture. Analysis is conducted on the new archaeological and ethnographic sources, archival materials on the history of culture and art of the Mordovian region. The author highlights and characterizes various techniques of using sequins in the Moksha and Erzya embroidery of the XIX – early XX centuries, which testify to the complexity of ethnogenesis of the Mordovian people.
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WEIWEI (China), Ai, and Augusto SARMENTO-PANTOJA (UFPA). "AI WEIWEI: RESISTÊNCIA DAS ARTE E O MATERIAL CULTURAL." Margens 16, no. 27 (December 23, 2022): 307. http://dx.doi.org/10.18542/rmi.v16i27.13625.
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The photo essay I present below was carried out in 2021 at the exhibition “Rapture”, by the Chinese activist and artist Ai Weiwei, held at Cordoaria Nacional, in Lisbon. Living in Portugal, this was the artist's first and largest exhibition with 85 pieces produced in various formats, materials and sizes, including cork, straw, paper, marble, clay, cloth, metal, ceramics and tiles. His versatility turns everything into art and activism, as human rights are a constant in his work, which seeks to reveal a particular way of questioning the world. Whether in the face of tragedies, war, political persecution, the environmental crisis, censorship, the pandemic, the refugee crisis or his own fight for freedom, when the Chinese government kept him imprisoned for 81 days in 2011, due to his intense criticism mainly of the disrespect for human rights. I reflect on the materials used by Weiwei as part of his culture and how this same process can be thought of in Amazonian art.
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Бравина, Розалия Иннокентьевна, and Зинаида Ивановна Иванова-Унарова. "The Glow of Silver: The Traditional Ornaments of the Yakuts. From the Origins to the Present." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (June 25, 2020): 51–62. http://dx.doi.org/10.26158/tk.2020.21.2.005.
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Ювелирное искусство народа саха исследуется в статье в междисциплинарном аспекте: изучаются истоки его возникновения, этнокультурные связи народов Евразии по материалам археологических памятников Позднего Средневековья, искусствоведческая характеристика украшений (традиции и новаторские черты в современном искусстве якутских ювелиров). В основу работы положен анализ находок из археологических раскопок якутских погребений XIV-XVIII вв., предметов из фондов музеев Республики Саха (Якутия) и Американского музея естественной истории в Нью-Йорке, а также авторских ювелирных изделий современных мастеров. Подробное изучение ансамбля якутских украшений и отдельных его частей содержится в трудах этнографов Ф. М. Зыкова, В. П. Дьяконовой и др. Классификация украшений, описание техники и способов обработки металла, к которым обращались эти авторы, не входят в задачи данной статьи. Металлические украшения древних якутов, найденные в археологических памятниках, рассматриваются нами в сравнительно-историческом аспекте и соотносятся с изделиями древних кочевников Центральной и Передней Азии, Китая и Южной Сибири. Якутское ювелирное искусство приобрело устойчивые формы, орнаментальный декор и национальное своеобразие в XVII-XIX вв. На современном этапе сохраняется многовековая традиция изготовления ансамбля украшений, но параллельно развивается творчество дизайнеров-ювелиров по созданию оригинальных художественных произведений, вырабатывающих неповторимый стиль этномодерна. The article examines the jewelry of the Sakha people from an interdisciplinary perspective. It examines its origins and sources; considers the ethno-cultural relations of the peoples of Eurasia, based on the materials of archaeological monuments from the late Middle Ages; and considers art history (traditions and innovative features in the modern art of Yakut jewelers). The work is based on archaeological excavations of Yakut burials of the 16th through 18th centuries, items from the collections of the museums of the Republic of Sakha (Yakutia), and the American Museum of Natural History in New York, as well as the author’s jewelry created by modern masters. A detailed study of Yakut jewelry and its individual parts is contained in the works of the ethnographers F. M. Zykov, V. P. Diakonova, and others, and the classification of jewelry and descriptions of the techniques and methods of metal processing that these scholars provided are not considered in this article. On the other hand, metal ornaments of ancient Yakuts found in archaeological sites are analyzed in a comparative historical context and correlated with the products of ancient nomads from Central and Western Asia, China and Southern Siberia. Yakut jewelry art acquired stable forms, ornamental design and national distinctiveness in the 17th - 19th centuries. The traditional Yakut way of making an ensemble of jewelry has been preserved, but at the same time, jewelry designers have also been creating original works of art that develop a unique “ethnomodern” style.
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Zhang, Kai, Ri Sheng Long, and Wei Jun Liu. "Configuration and Adjustment of Substrate Preheating Device." Key Engineering Materials 480-481 (June 2011): 1516–20. http://dx.doi.org/10.4028/www.scientific.net/kem.480-481.1516.
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Laser Metal Deposition Shaping (LMDS) is a state-of-the-art technology that combines rapid prototyping and laser processing. There are many factors affecting the quality, precision, microstructure and performance of LMDS-deposited parts. Among them, substrate preheating is a significant one since it can change the heat history of the LMDS process. Preheating is often used to reduce the residual stresses and the risk of thermal distortion and cracking. In this work a set of substrate preheating device for LMDS system employed with dual-channel control, namely intelligent PID temperature control and realtime serial-port temperature acquisition and feedback control, is designed and developed. In addition, the heating up rule gained through the relative experiment is introduced to reduce the overshoot amplitude of substrate preheating device by cascade control method. The results show that not only can this substrate preheating device realize the dual-channel control and continuous adjustment of substrate preheating temperature, but also can realtime collect and record the substrate temperature.
Dissertations / Theses on the topic "Art metal-work History"
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Conner, Sheri L. "The history of the world is written in art." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313072.
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This creative project resulted in five metal handbags, each based on a specific period from art history: Egyptian, Classical, Art Nouveau, Art Deco and Memphis. These styles range from early human history to contemporary times and possess very explicit and identifiable motifs. They maintain links to each other and impact design to this day.The project culminates in an exhibit. A brief description of the relevant era is printed on attached tags to generate mini art history lessons. People who see or use the handbags will gain exposure to art history they may not otherwise seek out, potentially piquing their curiosity. The aim is to sell all five handbags so they may demonstrate that art history is a vital part of human history because it continues to inform and inspire a spectrum of endeavors from advertising and fashion to engineering and design.Department of Art
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Parmenter, Dorina Miller. "Bookbinding with metal ornamentation." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1027126.
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During the Middle Ages, books were rare and cherished art forms, individually hand-crafted and decorated both on the pages and on the covers. Monks transcribed religious documents and classical literature with beautiful calligraphy, bound the pages together, and illuminated the covers with leather, silver, gold, ivory, enamels, and jewels.The purpose of this creative project was to research the history of bookbinding and its metal ornamentation, focusing on Medieval treasure bindings, and to explore and execute the historical bookbinding and metalworking techniques which were studied. Four books were constructed using the flexible bookbinding method, covered with leather, and decorated with enamels, stones, etched brass, silver filigree, and constructed closures.Department of Art
Books on the topic "Art metal-work History"
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Art metalforging. London: A&C Black, 2002.
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Iinkai, Saitama-ken Kyōiku. Kinkōhin shozai kinkyū chōsa hōkokusho. [Urawa-shi]: Saitama-ken Kyōiku Iinkai, 1991.
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Institute of Historical Studies (Kolkata, India), ed. Dhokra art of West Bengal. Kolkata: Raktakarabee, 2013.
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Barros, Anne. Ornament and object: Canadian jewellery and metal art, 1946-1996. [Erin]: Boston Mills Press, 1997.
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1941-, Noever Peter, ed. The ideal museum: Practical art in metals and hard materials. Vienna: Schlebrügge, 2007.
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Antiques, Isak Lindenauer, ed. August Tiesselinck: A lifetime in metal (1890-1972). San Francisco, Calif: I. Lindenauer, 1989.
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(Korea), Kungnip Munhwajae Yŏnʼguso, ed. Chogakchang: Chungyo muhyŏng munhwajae 35-ho. Taejŏn Kwangyŏksi: Pʻia, 2005.
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Roycroft art metal. 3rd ed. Atglen, PA: Schiffer Pub., 1999.
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Roycroft art metal. West Chester, PA: Schiffer Pub., 1990.
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McConnell, Kevin. Roycroft art metal. 4th ed. Atglen, Pa: Schiffer Pub., 2008.
Find full textBook chapters on the topic "Art metal-work History"
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Roache-Fedchenko, Amy. "Maintaining the Military." In British Forts and Their Communities. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056753.003.0003.
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The objects most often used within the frontier setting during the eighteenth century were made of metal. The blacksmith was instrumental in repairing and producing metal objects required to support daily life. At the French, and subsequently British, militarized trading post of Fort Michilimackinac, the diverse community residing within and surrounding the fort would have relied upon the blacksmith to maintain axes, traps, saws, and other metal implements within the isolated frontier setting. Archaeological data and historic documents describe the use, trade, and demand for iron products at the fort and are used here to better understand the blacksmith and his work within the fur trade and frontier contexts of the 18th century. Spatial and portable X-ray fluorescence analyses of recovered axes are used to examine the complex civilian and military relationships with the blacksmith at Fort Michilimackinac.
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van Santen, Rutger, Djan Khoe, and Bram Vermeer. "Advanced Machines." In 2030. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195377170.003.0025.
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What looks like a cake tin on wheels is working its way around the room. The robot vacuum cleaner is just as noisy as a normal one, but there’s an important difference: You don’t have to lift a finger to clean your floor. The dirt collects inside the robot’s body, swept up industriously by the rotating brushes and sucked in by the motor. The machine’s sensor flickers over the spot where some bread crumbs just fell, telling it that this is an especially dirty place, which requires an extra sweep for good measure. At the edge of the stairs, the cake tin detects the drop and changes course in the nick of time. Having surveyed the room three times, the robot concludes that its job is done. Everything is clean. No more arguing over who has to vacuum the floor. Let the machine do the work while you sit in a comfortable chair, maybe with another robot for a pet. You can already buy devices like this for a couple of hundred dollars. In fact, much of the Industrial Revolution is about machines working for us. That has dramatically changed productivity and labor. In our households, too, we have a number of machines that do the work for us. Examples are our washing machines and dryers. But for as long as machines have existed, we have dreamed of robots that could take over more tedious chores—metal people who would obey our every order and do our work for us—open the door, boil the potatoes, fix the car. It’s no coincidence that robot derives from the word for “work” in most of the Slavic languages. Robots spark fantasies of large factories full of metal workers lifting boxes, toiling on the production line, and designing new products at their drawing boards. These are some serious toys. They extend our human capacities in much the same way as all the other tools we have developed in the course of our history. Some are already in use in our daily lives, including ones that make independent and crucial decisions without seeking our input.
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O'Brien, William. "Mining, Community, and Environment." In Prehistoric Copper Mining in Europe. Oxford University Press, 2014. http://dx.doi.org/10.1093/oso/9780199605651.003.0014.
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The previous chapters in this book have reviewed the extensive research carried out on prehistoric copper mines in Europe. Numerous site investigations provide detailed information on the geological setting of these mines and the types of ore minerals extracted. The same studies yield important insights into methods of rock extraction, ore beneficiation, and smelting, and the overall organization of those activities. Building on this solid base of information, it is possible to move beyond an understanding of mining as a technological process to an emphasis on the prehistoric communities involved. The technical details and logistics of the mining process continue to be important, but are now considered as part of a socially informed chaîne opératoire of early metal production. Mining in the modern era is regarded as an economic activity; however, there is also a distinctive character to the individuals and communities who engage in that work. This is also true of prehistoric mining, which was undertaken within specific historical contexts that were structured by particular sets of cultural values. It was a highly social activity, involving closely-knit groups of individuals working together towards a common purpose, in situations where they depended on each other for their safety. With no written records, the challenge for researchers is to understand these social dynamics using material correlates available in the archaeological record. As in other areas of prehistory, there are certain limits to the inferences that can be made using this type of evidence. That said, the significance of metal to later prehistoric societies provides a broad indication of the importance of mining as an activity. A concern with the social background of these miners goes back to the earliest research in this field. The gradual move towards a ‘social archaeology’ of early copper mining reflects broader paradigm shifts in modern archaeology, away from culture historical explanations to more interpretative understandings of the material record. While recognizing the dangers of cross-cultural generalization, ethnohistoric studies serve to illustrate the vivid social history of mining communities.
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Ray, Keith, and Julian Thomas. "Writing Neolithic Britain: an interpretive journey." In Neolithic Britain. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823896.003.0009.
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It is just over sixty years since Stuart Piggott published his major work, Neolithic Cultures of the British Isles. This was the first comprehensive account of what was then known and assumed about the ‘New Stone Age’ in these islands, and it surveyed discoveries and summarized debates that had occurred over the previous century. This process of gradual accumulation of data and ideas has continued apace since Piggott was writing, not least owing to the precision with which we can now date much of the activity that characterizes the Neolithic. When Piggott was writing his book in the early 1950s an American, Willard Libby, was experimenting with the technique of radiocarbon dating as a by-product of the development of nuclear technology. This dating method uses the rate of decay of radioactive isotopes to measure the time that has elapsed since a sample of organic matter last exchanged carbon with its environment—in short, the time since an organism died. Application of the method has cumulatively transformed our understanding of prehistoric chronology. To illustrate the impact upon the study of Neolithic Britain, we have only to appreciate that in Neolithic Cultures Piggott imagined a British Neolithic period that lasted for around five hundred years, beginning in about 2000BCE. This estimated span was based on a series of assumptions about the rate of cultural change, and the affinities between artefacts in Britain, continental Europe, and further afield. However, over the past half-century this inherited chronology has been swept away as radiometric dating has gradually been refined, and huge numbers of dated samples have accumulated. These now suggest that the Neolithic period began in Britain shortly before 4000 BCE, and ‘ended’ with the advent of a variety of objects made of metal instead of stone, from around 2400 BCE. The implications of this transformed appreciation of the duration of the Neolithic are profound, for while Piggott and his contemporaries were dealing with periods of historical time that were comparable with those with which we are familiar from recorded history (the rise and fall of the Roman Empire, the emergence and spread of Islam, the development of capitalism), we now have evidence for human activity in the Neolithic of Britain that is dispersed across an expanse of time as much as three times longer than these major historical episodes.
Conference papers on the topic "Art metal-work History"
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Siviero, E., and V. Martini. "Bridges in the World Heritage List Between Culture and Technical Development." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0153.
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<p>The aim of this paper is to present some bridges inscribed in the UNESCO World Heritage List and their Outstanding Universal Values, which explain the importance of these works of art in terms of engineering, technology, culture and technical development. The Iron Bridge, the first metal bridge in the history of construction, is of considerable importance, not only in historic, technological and constructive terms: here, architecture and engineering are revealed to the full, making the bridge into a place. The Forth Bridge is a globally-important triumph of engineering, representing the pinnacle of 19th century bridge construction and is without doubt the world’s greatest trussed bridge. The Vizcaya Bridge, completed in 1893, was the first bridge in the world to carry people and traffic on a high suspended gondola and was used as a model for many similar bridges in Europe, Africa and America, only a few of which survive. The Mostar Bridge is an exceptional and universal symbol of coexistence of communities from diverse cultural, ethnic and religious backgrounds. The Oporto bridges, interpreted in Vitruvian terms, represent a heritage, a “set of spiritual, cultural, social or material values that belong, through inheritance or tradition, to a group of people…”, a complex grouping that marks and symbolises an era, the Eiffel's masterpiece. Because the bridge is not only a work of art, but also a thought.</p>
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Noh, Byeong Jae, Wha Soo Kim, Sun Hong Kwon, and Jang Young Chung. "Comparative Wet Drop Experiments of Mark III and KC-1 for Membrane Type LNG Carriers." In ASME 2009 28th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/omae2009-79289.
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The increasing demand for safe storage and transportation of LNG (Liquefied Natural Gas) in the global energy market initiated a trend for further development of the design technology for LNG tanks. An LNG tank in LNG carriers or FLNGs (LNG-FPSO, LNG-FSRU) of the membrane type is constituted with primary and secondary metal alloy membrane barriers incorporated in insulation panels. One of the key technical issues associated with LNG carriers or FLNGs is the ability of the cargo containment system to withstand sloshing loads induced by ship motion in harsh environment. To assess the safety of membrane LNG tanks with a newly proposed configuration of CCS (Cargo Containment System) against sloshing, usually a comparative approach is adopted through numerical simulations and/or testing. The aim of the comparative approach is to assess the relative sloshing load and structural capacity under the fundamental assumption that the current membrane systems are safe. Over the period 2004-08, a JDP (joint development project) for an LNG CCS was carried out by Korea Gas Corporation (KOGAS) in corporation with major Korean shipyards and Korean universities. The aim of the project was to develop “a new CCS for membrane Type LNG carriers” which could lead to the improved and updated CCS of the structural safety. In this paper, experimental research results for the evaluation of structural performance of GTT MARK III type and KC-1 (Korean Cargo Containment System) insulation system, which is currently under development by KOGAS in corporation with major Korean shipyards, under hydro impact loads are presented. Based on the results of wet drop tests, a comparative evaluation was carried out for the time history of the impact pressure on the primary barrier and damage characteristics and so on. It is expected that the state-of-the art of engineering research described in this work can be directly applicable for the design and the development of high-valued LNG carriers and FLNGs.
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Vallabh, Chaitanya Krishna Prasad, Shawn Hinnebusch, Albert C. To, and Xiayun Zhao. "Layer-Wise Melt Pool Temperature Evolution in Laser Powder Bed Fusion: An Experimental Study Using a Single Camera Based Two-Wavelength Imaging Pyrometry." In ASME 2022 17th International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/msec2022-85387.
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Abstract In metal additive manufacturing (AM) the layer-wise thermal history is crucial for its effect on the print part properties, such as, microstructure, porosity, and mechanical strength. Literature studies for evaluating the part thermal history are typically based on in-situ infrared thermography and thermal modeling. However, the effect of melt pool temperature on the part thermal history has not been widely studied. In this preliminary work, for the first time we present a large and comprehensive in-situ monitored, layer-wise melt pool temperature evolution data for laser powder bed fusion (LPBF) AM. The melt pool temperature is evaluated using an in-house Single Camera Two-Wavelength Imaging Pyrometry (STWIP) system. The melt pool temperature evolution was evaluated for three different prints with different inter-layer-times and print heights. The melt pool temperature history trends presented in this work are in agreement with literature studies on part-thermal histories. The LPBF process signatures from our STWIP system can help develop more accurate thermal models with the melt pool temperature as the input and the unique capability of the STWIP system to acquire and analyze large amounts data facilitates the development of machine learning models for estimating part properties based on the process signatures.
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Ghungrad, Suyog, Benjamin Gould, Sarah Wolff, and Azadeh Haghighi. "Physics-Informed Artificial Intelligence for Temperature Prediction in Metal Additive Manufacturing: A Comparative Study." In ASME 2022 17th International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/msec2022-85159.
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Abstract Prediction of the temperature history of printed paths in additive manufacturing is crucial towards establishing the process-structure-property relationship. Traditional approaches for predictions such as physics-based simulations are computationally costly and time-consuming, whereas data driven approaches are highly dependent on huge, labeled datasets. Moreover, these labeled datasets are mostly scarce and costly in additive manufacturing owing to its unique application domain (mass customization) and complicated data-gathering stage. Recently, model-based or physics-informed artificial intelligence approaches have shown promising potential in overcoming the existing limitations and challenges faced by purely analytical or data driven approaches. In this work, a novel physics-informed artificial intelligent structure for scenarios with limited data is presented and its performance for temperature prediction in the selective laser melting additive manufacturing process is compared with one of the state-of-the-art data driven approaches, namely long short-term memory (LSTM) neural networks. Temperature data for training and testing was extracted from infrared images of single-track layer-based experiments for Ti64 material with different combinations of process parameters. Compared to LSTM, the proposed approach has higher computational efficiency and achieves better accuracy in limited data scenarios, making it a potential candidate for real-time closed-loop control of the additive manufacturing process under limited and sparse data scenarios. In other words, the proposed model is capable to learn more efficiently under such scenarios in comparison to LSTM model.
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Miles, Paul C. "The History and Evolution of Optically Accessible Research Engines and Their Impact on Our Understanding of Engine Combustion." In ASME 2014 Internal Combustion Engine Division Fall Technical Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/icef2014-5701.
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The development and application of optically accessible engines to further our understanding of in-cylinder combustion processes is reviewed, spanning early efforts in simplified engines to the more recent development of high-pressure, high-speed engines that retain the geometric complexities of modern production engines. Limitations of these engines with respect to the reproduction of realistic metal test engine characteristics and performance are identified, as well as methods that have been used to overcome these limitations. Lastly, the role of the work performed in these engines on clarifying the fundamental physical processes governing the combustion process and on laying the foundation for predictive engine simulation is summarized.
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Yavari, Reza, Kevin D. Cole, and Prahalad Rao. "A Graph Theoretic Approach for Near Real-Time Prediction of Part-Level Thermal History in Metal Additive Manufacturing Processes." In ASME 2019 14th International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/msec2019-2875.
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Abstract The goal of this work is to predict the effect of part geometry and process parameters on the instantaneous spatial distribution of heat, called the heat flux or thermal history, in metal parts as they are being built layer-by-layer using additive manufacturing (AM) processes. In pursuit of this goal, the objective of this work is to develop and verify a graph theory-based approach for predicting the heat flux in metal AM parts. This objective is consequential to overcome the current poor process consistency and part quality in AM. One of the main reasons for poor part quality in metal AM processes is ascribed to the heat flux in the part. For instance, constrained heat flux because of ill-considered part design leads to defects, such as warping and thermal stress-induced cracking. Existing non-proprietary approaches to predict the heat flux in AM at the part-level predominantly use mesh-based finite element analyses that are computationally tortuous — the simulation of a few layers typically requires several hours, if not days. Hence, to alleviate these challenges in metal AM processes, there is a need for efficient computational thermal models to predict the heat flux, and thereby guide part design and selection of process parameters instead of expensive empirical testing. Compared to finite element analysis techniques, the proposed mesh-free graph theory-based approach facilitates layer-by-layer simulation of the heat flux within a few minutes on a desktop computer. To explore these assertions we conducted the following two studies: (1) comparing the heat diffusion trends predicted using the graph theory approach, with finite element analysis and analytical heat transfer calculations based on Green’s functions for an elementary cuboid geometry which is subjected to an impulse heat input in a certain part of its volume, and (2) simulating the layer-by-layer deposition of three part geometries in a laser powder bed fusion metal AM process with: (a) Goldak’s moving heat source finite element method, (b) the proposed graph theory approach, and (c) further comparing the heat flux predictions from the last two approaches with a commercial solution. From the first study we report that the heat flux trend approximated by the graph theory approach is found to be accurate within 5% of the Green’s functions-based analytical solution (in terms of the symmetric mean absolute percentage error). Results from the second study show that the heat flux trends predicted for the AM parts using graph theory approach agrees with finite element analysis with error less than 15%. More pertinently, the computational time for predicting the heat flux was significantly reduced with graph theory, for instance, in one of the AM case studies the time taken to predict the heat flux in a part was less than 3 minutes using the graph theory approach compared to over 3 hours with finite element analysis. While this paper is restricted to theoretical development and verification of the graph theory approach for heat flux prediction, our forthcoming research will focus on experimental validation through in-process sensor-based heat flux measurements.
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Chakraborty, Nilanjan, and Suman Chakraborty. "Modelling of Turbulent Transport in Laser Melt Pools." In ASME/JSME 2003 4th Joint Fluids Summer Engineering Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/fedsm2003-45774.
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In this paper, we present a modified k-ε model capable of addressing turbulent molten metal-pool convection in the presence of a continuously evolving phase-change interface during a laser melting process. The phase change aspects of the present problem are addressed using a modified enthalpy-porosity technique. The k-ε model is suitably modified to account for the morphology of the solid-liquid interface. A three-dimensional mathematical model is subsequently utilised to simulate a typical laser melting process with high power, where effects of turbulent transport can actually be realised. In order to investigate these effects on laser molten pool convection, simulations with laminar transport and turbulent transport are carried out for same problem parameters. Finally, results of the simulation using the present turbulence model are compared with the results of laminar simulation with same problem parameters. Significant effects of turbulent transport on penetration and the geometrical features of the molten pool are observed which is an outcome of the thermal history of the pool. The thermal history in turn determines the microstructure of the work piece, which finally governs the mechanical properties of the work piece.
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Chakraborty, Nilanjan, Dipankar Chatterjee, and Suman Chakraborty. "Modelling of Turbulent Transport in Laser Surface Alloying." In ASME 2003 International Mechanical Engineering Congress and Exposition. ASMEDC, 2003. http://dx.doi.org/10.1115/imece2003-55420.
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In this paper, we present a modified k-ε model capable of addressing turbulent molten metal-pool convection in the presence of a continuously evolving phase-change interface during a laser surface alloying process. The phase change aspects of the present problem are addressed using a modified enthalpy-porosity technique. The k-ε model is suitably modified to account for the morphology of the solid-liquid interface. A mathematical model is subsequently utilized to simulate a typical laser alloying process with high power, where effects of turbulent transport can actually be realized. The three-dimensional model is able to predict the species concentration distribution inside the molten pool during alloying, as well as in the entire cross section of the solidified alloy. In order to investigate these effects, the turbulent simulation results are compared with those with laminar transport for same problem parameters. Significant effects of turbulent transport on penetration and the geometrical features of the molten pool are observed which is an outcome of the thermal history of the pool. The thermal history in turn determines the microstructure of the work piece, which finally governs the mechanical properties of the work piece.
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Stender, Michael E., Lauren L. Beghini, Michael G. Veilleux, Samuel R. Subia, and Joshua D. Sugar. "Thermal Mechanical Finite Element Simulation of Additive Manufacturing: Process Modeling of the Lens Process." In ASME 2017 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/pvp2017-65992.
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Laser engineered net shaping (LENS) is an additive manufacturing process that presents a promising method of creating or repairing metal parts not previously feasible with traditional manufacturing methods. The LENS process involves the directed deposition of metal via a laser power source and a spray of metal powder co-located to create and feed a molten pool (also referred to generically as Directed Energy Deposition, DED). DED technologies are being developed for use in prototyping, repair, and manufacturing across a wide variety of materials including stainless steel, titanium, tungsten carbide-cobalt, aluminum, and nickel based superalloys. However, barriers to the successful production and qualification of LENS produced or repaired parts remain. This work proposes a finite element (FE) analysis methodology capable of simulating the LENS process at the continuum length scale (i.e. part length scale). This method incorporates an element activation scheme wherein only elements that exceed the material melt temperature during laser heating are activated and carried through to subsequent analysis steps. Following the initial element activation calculation, newly deposited, or activated elements and the associated geometry, are carried through to thermal and mechanical analyses to calculate heat flow due to radiation, convection, and conduction as well as stresses and displacements. The final aim of this work is to develop a validated LENS process simulation capability that can accurately predict temperature history, final part shape, distribution of strength, microstructural properties, and residual stresses based on LENS process parameters.
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Devaney, Ronan J., Adrian Connaire, Padraic E. O’Donoghue, and Sean B. Leen. "Process-Structure-Property Fatigue Characterisation for Welding of X100 Steel Catenary Risers." In ASME 2019 38th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/omae2019-96516.
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Abstract Welded connections are a fatigue sensitive location for offshore steel catenary risers. The susceptibility to fatigue is due to the notch effect of the weld and the gradient in microstructure and material properties across the weld which result from welding thermal cycles and differences in the composition of the parent material and weld metal. In this work, a representative full-scale steel catenary riser girth weld is conducted using X100Q steel. The thermal and strain history in the weld zone are captured using a thermocouple and strain gauge array. A parallel programme of Gleeble thermomechanical simulation is implemented to develop microstructurally uniform heat affected zone (HAZ) test specimens. The parent material, weld metal, simulated HAZ and a cross-weld sample are characterised using a programme of nanoindentation, tensile and fatigue testing. A softened region with microstructure corresponding to intercritical HAZ (ICHAZ) is identified in the girth weld. Tensile and fatigue failures are shown to occur in a representative microstructural region for simulated HAZ specimens, indicating a susceptibility to failure in the ICHAZ for matched or over-matched X100Q welds.