54 research outputs found
Deformation analysis of high-Si-steel during torsion and compression testing / Pablo Rodriguez Calvillo.
No full textPablo Palazuelo. Espacio plegado
No full textPablo Palazuelo (1915-2007) no sólo demostró su maestría en el ámbito pictórico, sino que también se adentró con
éxito en la tercera dimensión. A partir del análisis de los fondos de la Fundación del artista se ha tratado de reconstruir el proceso de trabajo escultórico, empleando como semilla los trazados simbólicos contenidos en el boceto Del cuatro para seguir el rastro de las maquetas y croquis inéditos que custodia dicha institución.
Pablo Palazuelo (1915-2007) not only demonstrated his command of the pictorial field, but also ventured successfully
into the third dimension. Based on the analysis of the holdings of the Pablo Palazuelo Foundation, the author
reconstructs the artist’s sculptural process, using as a basis the symbolic lines found in the sketch Del cuatro, and tracing
unpublished models and sketches in the collection of the Foundation
Texture evolution during high temperature plane strain compression of high silicon steels
No full textHigh silicon steel is used for electrical applications because its electrical resistivity is increased and the magnetostriction is reduced. A silicon content up to 6.5 wt.-% gives excellent magnetic properties. The improvement of the magnetic properties stays in contrast with the lack of ductility of these alloys, making their thermo-mechanical processing difficult. The optimum final microstructure and texture depends on the final application of the material: extremely big grains with a Goss orientation ({101} (001)) are desired in transformers and grains with an average size of 100 mu m and cube component ({100} (001)) are used in electrical motors.
A series of plane strain compression (PSC) tests were performed on 3 electrical steels, with a silicon content from 1.8 to 4.1 wt.-%, in a temperature range of 800 to 1100 degrees C, strain rates between of 0.5 and 5 s(-1). Reductions and time between deformation and quenching were also varied in order to study the recrystallisation progress. Apparent activation energies for hot working, calculated using the hyperbolic sine equation, was in good agreement with literature and higher than the activation energy for self diffusion in iron. These values increase with the silicon content.
The high temperature texture evolution was investigated by means of electron back scattering Diffraction (EBSD) technique, which allows the quantification of important texture components in function of the thermo-mechanical parameters applied during hot rolling and the plane strain compression tests. The hot rolled microstructures have shown an average grain size of 140 mu m and a texture with a maximum on the cube fibre ({001} (1-10)). The conventional alpha ((110)//RD)/gamma ((111)//ND) fibre texture was developed after plane strain compression and their intensities depend on the deformation temperature and reduction. A similar tendency was observed for the fraction of static recrystallised grains
El Distrito Norte de la Baja California en disputa. Historias. Revista de la Dirección de Estudios Históricos. Num. 100 (2018) mayo-agosto
No full text1 Por ejemplo, Javier Garciadiego, “Esteban Cantú y la revolución constitucionalista en el Distrito Norte de la Baja California”, tesis de maestría en historia de América Latina, Universidad de Chicago, 1979; Max Calvillo, “Esteban Cantú en Baja California. Consideraciones en torno a su gobierno”, Yubai. Revista del Área de Humanidades, núm. 7, julio-septiembre, 1994, pp. 4-10, también Max Calvillo, “Indicios para descifrar la trayectoria política de Esteban Cantú”, Historia Mexicana, vol. 59, núm. 3 (235), enero-marzo, 2010, pp. 981-1040.2 Antoine Prost, Doce lecciones sobre la historia, Madrid, Cátedra, 2001, p. 96.3 A partir del 1 de enero de 1888, el antiguo Partido Norte de Baja California recibió la categoría política de Distrito Norte. Esta jurisdicción tenía un municipio (Ensenada de Todos los Santos), capital del Distrito, donde residía el jefe político. El coronel Esteban Cantú cambió la capital a Mexicali en 1915.4 César Alexis Marcial Campos, Un territorio en disputa. El Distrito Norte de la Baja California durante el gobierno de Esteban Cantú, 1915-1920, México, Gobierno del Estado de Baja California Sur / Conaculta / Instituto Sudcaliforniano de Cultura / Archivo Histórico Pablo L. Martínez, 2016, p. 12.5 Idem.6 Luis González y González, El oficio de historiar, México, Clío, 1995, p. 127 (Obras completas de Luis González y González, I).César Alexis Marcial Campos, Un territorio en disputa. El Distrito Norte de la Baja California durante el gobierno de Esteban Cantú, 1915-1920, México, Gobierno del Estado de Baja California Sur / Conaculta / Instituto Sudcaliforniano de Cultura / Archivo Histórico Pablo L. Martínez, 2016, 133 pp
Análisis de la geometría de Pablo Palazuelo desde la visión del arquitecto
No full textEsta investigación indaga sobre la relación entre el método geométrico empleado por Pablo Palazuelo y el proceso del proyecto arquitectónico. La elección de este pintor y escultor madrileño como hilo conductor de esta tesis no es fortuita, puesto que la arquitectura desempeña una influencia esencial sobre su obra. Un influjo que le llega en parte a través de su formación académica, dado que cursó estudios de arquitectura en la School of Arts and Crafts de la ciudad de Oxford (1933-1936). Así mismo diseñó propuestas estrechamente vinculadas a un lugar construido, con el consiguiente condicionante de las trazas del mismo. La hipótesis de trabajo formulada a partir de textos elaborados por autores como Víctor Nieto Alcaide y Juan Daniel Fullaondo sugería una interconexión con la arquitectura orgánica. Como comprobación del grado de profundidad en otros análisis publicados, se han seleccionado los textos que indagan en el proceso que el artista desarrollaba durante la producción de su obra, y se adentran en cuestiones estructurales que trascienden el ámbito formal. Siguiendo esta pauta, además de una acotación temporal, se han escogido los realizados por Santiago Amón, Carme Bonell, Valerio Bozal, Manuel J. Borja-Villel, Francisco Calvo Serraller, Claude Esteban, Julián Gállego, Teresa Grandas, Max Hölzer, George Limbour, Kevin Power y Carlos Rodríguez-Spiteri. A estos autores se suman las fuentes orales consultadas dentro de un entorno intrínsecamente próximo a sus realizaciones, procedentes de Pere Casanovas y Soledad Lorenzo. Además de personas que en diferentes etapas de su vida coincidieron por distintos motivos con sus realizaciones, como son Ramón Ayerza, Mariano Bayón, José Antonio Corrales, Luis Gordillo, Rafael Moneo, José Rodríguez-Spiteri y Antonio Tornero. A partir del acceso obtenido a los escritos, libros, bocetos y abundante obra gráfica y escultórica que atesora la Fundación del pintor, se ha podido elaborar un andamiaje tanto teórico como geométrico que ha servido de base para confrontar estas premisas. Esta empresa se ha estructurado en una narración que, además de los estudios precedentes citados, comienza con los cimientos del pensamiento de Palazuelo. Elaborada a partir de sus escritos, donde defendía un sincretismo que concilia las visiones de las culturas occidental y oriental. En los siguientes apartados, se han analizado las principales obras gráficas y escultóricas del autor haciendo un especial hincapié en el método productivo. Una gestación que se resiste a una mera enumeración cronológica, por lo que la clasificación que se propone en este trabajo trata de ser lo más fiel posible al espíritu expresado por Palazuelo basado en linajes y coherencias, para desvelar las herramientas empleadas y poder compararlas con el proceso del proyectual. Este recorrido se completa con una última sección se reúnen por primera vez las dieciséis obras y los dieciséis proyectos más representativos que ilustran la aproximación más directa que obró Palazuelo entre sus investigaciones geométricas y un locus determinado. Durante casi cuatro años se desarrolló un inventariado y catalogación pormenorizada de la documentación y piezas sobre papel, lienzo y metal realizadas por Palazuelo. Esta indagación saca a la luz un conjunto constituido por casi cuatro mil obras, en su mayoría inéditas, que constituyen el archivo de la citada institución. En definitiva, esta investigación construye un tejido gráfico y geométrico referido a uno de los artistas españoles más importantes del siglo XX, entreverado por su pensamiento teórico y realizaciones en dibujos, maquetas, esculturas y propuestas arquitectónicas. Las cuales permiten establecer los acuerdos y desacuerdos con el proceso de la arquitectura para proponer una nueva aproximación geométrica interdisciplinar. ABSTRACT This research investigates the relationship between the geometric method used by Palazuelo and the architectural design’s process. Choosing this Spanish painter and sculptor as thread of this thesis is not fortuitous, since the architecture has an essential influence on his work. An influx that arrives in part through his academic training, as he was an architecture student at the School of Arts and Crafts of the city of Oxford (1933-1936). Furthermore his proposals designed closely linked to a built place, therefore conditioned by its traces. The working hypothesis formulated from texts written by authors like Victor Nieto Alcaide and Juan Daniel Fullaondo suggested an interconnection with organic architecture. As a check on the degree of depth in other published reviews, articles that explore the process that the artist developed during the production of his work, and penetrate into structural issues beyond formal domain have been selected. Following this pattern, along with a temporal dimension, assays by Santiago Amón, Carme Bonell, Valerio Bozal, Manuel J. Borja-Villel, Francisco Calvo Serraller, Claude Esteban, Julián Gállego, Teresa Grandas, Max Hölzer, George Limbour, Kevin Power and Carlos Rodriguez-Spiteri have been selected. Oral sources within an inherently environment close to his achievements, as Pere Casanovas and Soledad Lorenzo, are also added. In addition to people coincided with his accomplishments, such as Ramón Ayerza, Mariano Bayón, José Antonio Corrales, Luis Gordillo, Rafael Moneo, José Rodríguez-Spiteri and Antonio Tornero. From obtained access to the writings, books, sketches and abundant graphic and sculptural work that holds the Foundation painter, it has been able to develop a theoretical and geometric framework that have served as the basis for confronting these premises. This dissertation has been structured in a narrative that ⎯in addition to the previously mentioned studies⎯, begins with the foundations of Palazuelo thought. A structure built from his writings, where he defended a syncretism that reconciles the views of Western and Eastern cultures. In the following sections, his main graphic and sculptural works have been analyzed with particular emphasis on the productive method. A process that resists mere chronological enumeration, so the classification proposed in this investigation tries to be as faithful as possible to the spirit expressed by Palazuelo, based on bloodlines and coherences, to uncover the tools he used and to compare them with the architectural design process. This tour is completed with a final chapter that gathers the sixteen proposals and sixteen works most representative projects that illustrate the more direct approach that Palazuelo worked between geometric investigations and a given locus. For nearly four years, a detailed inventory and cataloguing of documents and works on paper, canvas and metal made by Palazuelo was developed. This research brings to light a set consisting of nearly four thousand works, mostly unpublished, that constitute the current archive of the aforementioned institution. Ultimately, this research builds a graph and geometric fabric referred to one of the most important Spanish artists of the twentieth century, interspersed by his theoretical thinking and achievements in drawings, models, sculptures and architectural proposals. Which allow establishing agreements and disagreements with the process of architecture to propose a new geometric interdisciplinary approach
A study of texture evolution during deformation and annealing in Fe 3 wt.-% Si by orientation contrast microscopy
No full textElectrical steels, in particular Fe-Si alloys, are used as magnetic flux carrier in transformers and motors because of their excellent magnetic properties. They owe these magnetic properties in part to the presence of specific texture components such as the Goss ({110} ) or the cube components ({001} ), but also to the chemical composition which is optimum with 6.5 wt. % Si. This high silicon content provides a stable BCC lattice structure to the alloy over the entire solid state domain, but also renders the material more brittle. This embrittlement, which is induced by ordering phenomena, makes it impossible to produce the alloy in a conventional rolling process unless a specific thermomechanical route at high temperature is applied. In order to examine the working behaviour of high Si electrical steels, a series of room temperature plane strain compression tests was carried out on a Fe-3%Si alloy in hot band condition. The samples were compressed with a constant strain rate of 20 s(-1) to a reduction of 10, 35 and 70% and subsequently annealed for different times at 800 and 900 degrees C in an electrical furnace without protecting atmosphere.
The hot rolled microstructure displayed an average grain size of 195 mu m and the texture showed on the cube component ({001} ) of maximum 5x random levels. After plane strain compression the samples developed the conventional a ( // RD) / gamma ( // ND) fibre texture by plastic shear which was also accommodated, in part, by mechanical twinning. With regard to the annealed material, it was observed that the recrystallisation started in grains with the higher stored energy and within the shear bands. After a reduction of 70% the samples that were annealed at 900 degrees C for 4 hours displayed an average grain size of 27 mu m and a relative maximum of 4x random on the cube component. Also other less intense components such as the rotated cube ({001} ) and the Goss ({110} ) were present in the annealing texture. The samples that were annealed at 900 C, after a reduction of 70%, were characterized by an average grain size of 36 mu m and by the appearance of the {111} gamma fibre component with an intensity of 4.7
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