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Kinematic synthesis of a four-link mechanism with rolling contacts for motion and function generation
No full textSolving for Rigid-body Guidance of the Four-link Mechanism with Rolling Pairs by Optimization Method
No full text本文探討具滾動接觸夾爪機構的運動合成問題。本文分為三部分，第一部分對於已經建立的剛體導引運動方程式，討論其運動合成時的自由設定的變數個數與方程式個數關係。第二部分為以最佳化方式解運動方程式，並以圖解討論機構的運動狀態。第三部分為用運動分析的方式，解析最佳化合成之結果，證明此法可有效的找出合成方程式的解。In this paper, the kinematic synthesis of a chopstick-type gripping mechanism containing rolling pairs is studied. The design equations of the mechanism used as a rigid-body guidance are established. The number of free choices in design variables in the kinematic synthesis is also discussed. The optimization-based numerical technique is applied to solve the design equations. The synthesized solutions are illustrated to discuss the kinematic states of the mechanism. It is also shown that the optimization-based method is effective in finding the admissible synthesis solution of the mechanism.致謝 i
中文摘要 ii
英文摘要 iii
目錄 iv
表列 vi
圖列 vii
第一章 緒論 1
1-1 前言 1
1-2 文獻回顧 1
1-3 研究目的 2
1-4 本文架構 3
第二章 平面滾動與具雙滾動接觸對機構之分析 4
2-1 轉換矩陣法 4
2-1-1 Sheth-Uicker之轉換矩陣法 4
2-1-2 表面接觸物體之P矩陣 11
2-2 具雙滾動接觸對運動分析 13
2-2-1 轉換矩陣運動方程式 13
2-2-2 運動分析 19
第三章 剛體導引機構 22
3-1 耦桿上一點之剛體導引機構數學模式 22
3-2 剛體導引機構指定精確點位置個數與合成解的個數之關係 28
3-3 耦桿圓心之剛體導引機構數學模式 29
第四章 具雙滾動接觸對機構分析與合成 32
4-1 耦桿一點之剛體導引機構合成實例 32
4-1-1 合成步驟 32
4-1-2 四點剛體導引機構合成 35
4-2 以圓心作為剛體導引合成之實例 40
4-3 剛體導引分析實例 44
4-4 總結 47
第五章 結論與未來研究方向 48
5-1 結論 48
5-2 未來研究方向 49
參考文獻 5
The Heart of Architecture,The Fire on Border- The Technology and Culture of Traditional Kitchen Stove
No full text傳統建築史的研究取向，大多傾向於藝術史與技術史的範疇，其論述領域專注於物質面的形式、構造、結構，以及精神面的「建築意」、風格、象徵。建築史所選擇的材料，即使描繪從「大屋頂」的尺度到細緻的磚瓦、窗花等裝飾，但許多日常生活空間仍是未被發掘的寶庫，傳統廚房即為一例。
傳統廚房的發動器與中心地標，正是那逐漸消逝的爐灶。當台灣還處於農業社會的階段時，灶是主要的炊具，負責生產食物，使整個家族得以飽足。兒時為爐灶加柴添薪，在灶旁看著母親的身影，等待著食物的出爐，以及過年時廚房裡眾婦女一同忙碌的熱鬧情景…，都是人們共同分享的黃金童年記憶與情感符徵上的共同遺產。
爐灶的使用因著急促的現代化歷程，與現今生活形態發生斷裂。現代廚房的設計受到能源使用形式的轉換影響，升火的技術被精簡化，空間配置則多為西方包浩斯（Bauhaus）美學影響，以簡潔、明亮、符合人體工學為訴求。傳統廚房設計則是圍繞著大灶作為主軸。經驗研究的方法正好能探索傳統空間形成與使用的複雜性，並更能深入了解家庭成員角色的背後意識。
本論文將放在與傳統建築史對話的基礎上，將提及所有大灶的建構體系，包含風水理論與工匠技術。再來對空間裡的人與文化進行研究，例如大灶的使用經驗訪談，以及灶神信仰。我們會驚訝於在極私密、不為外人道的廚房空間中，小小爐灶的構築、設計與使用，連結了風水師、匠師、家主、煮食者(通常女性為核心角色)，更能從另一個角度重新理解婦女的母職建立與家務勞動的分工。她們不只是被動的編入生產線，更從中找到自身認同與暗地裡進行權力的操作。從婦女使用大灶的身影，我們窺探了廚房祕史裡所展現的恩怨情仇。爐灶的形成過程中，我們見到了空間、生活、信仰與權力關係的縮影，並為建築史提供另一個批判性的觀點。
第一、二章先陳述問題意識、文獻回顧、理論模型、研究方法；第三章則是描述灶的營造，即灶的成形過程。我們先簡略提及灶的起源、它在建築空間中的位置，然後研究在砌灶之前需要考慮的規劃理論如：風水與安灶、拆灶的習俗。接著我們進入設計與營造階段：燃料、火路技術及砌灶技術。至終以陳金井師傅的作灶實例作為本章的結尾。
第四章進行灶的生活脈絡紀錄以及人在空間中的行為分析。我們將提及大灶的應用技術(生火、烹煮)，以及空間中大灶作為中介，成為人與人的互動憑藉。還有不容忽視的灶神在那裡監視著人的日常生活。於是空間構成了多重場域，當煮食成為一種社會手段，我們能看見複雜的社會與文化。其場域中不同的「氛圍」，乃指場域內溝通的語言及情感的互動情境。最後在懷舊式的文藝作品再現中，我們詮釋大灶的「情感」面向，還有將『灶』的象徵與家的意義相連；第五章說到造成大灶生活消逝的原因－現代化，以及現代化如何成形、生活需求範型如何移轉、現代廚房與傳統廚房決裂所代表的意義。
第六章結論則是為爐灶建立在建築史的地位，說明爐灶如何在空間生產、性別角色、場域資本三元辯證中建構了整體的生活，以及分析爐灶在傳統建築史缺席的原因。爐灶其實是建築的心臟，它連貫了空間與空間，人與空間，並負責整個家族的生存，更在象徵上指涉了家的意義。它雖然位於邊境(空間與性別的邊緣之處)，我們卻藉由它看見了豐富的、跨領域的課題。建築史寫作必須向多面向的分析性工具開放自身，這也正是題目「建築之心．邊境之炬」的意義。本文因限於時間與精力，因此研究的時空對象將以日據時期之後的台灣地區為主體。Mainstream researches on traditional architectural history tend to discuss the category of art and technology history. Their discursive terrain focus on the material and spiritual dimensions of architecture. The former dimension includes form, construction, and structure while the latter includes conception (especially poetic portion) of architecture, style and symbol. Scholars choose these objects according to form and Great History .Even these objects scale from “big roof” to delicate ones like brick, tile, and window carving etc, many spaces in everyday life are still treasures unfound. Traditional kitchen (with its stove) is profoundly one of the cases.
Stove (Zao) is exactly the engine and central landmark of kitchen. It’s gradually disappearing. Stove was the main cooking utensil in the phase of agricultural society in Taiwan. It fed all of family. Many people still remember adding firewood into the stove, looking at their mother preparing food, waiting to eat, and the unforgettable thriving scene: in kitchen, many women were busy working during Chinese New Year. These are the mutual heritage of affectionate signifier and golden memory of childhood.
However, the use of traditional stove was punctuated by the rapid modernization of the society. The way of life was changed. The design of modern kitchen was influenced by the different use of energy. The technique of catching fire was simplified and the layout of space were affected by the aesthetics of Western Bauhaus: simple, bright, fitting Ergonomics. Through experience research methods, we could explore the complexity of spatial formation and use, while having more insight into the consciousness of the entire household.
Since this thesis is based on the dialogue with traditional architectural history, I’ll mention the whole construction system of stove, including Feng-Shui theory and the technique of craftsmen. Then we look into the people and culture in space, such as the experience of using stove and the belief of kitchen god. We are also surprised that in private, no-mentioned space, the construction, design, and use of stove serves as a hub connecting geography master ,craftsman, house master, and those who cook (women are the important figures).And we could realize the establishment of motherhood and division of household labor from another point of view. From images of women using stove, we get a picture of the mystery history of kitchen where people’s affection interweave a tangled yarn. Through the formation of stove, we see the epitome of space, life, belief and power polarization, all of which provide another critical perspective of architectural history.
Chapter one and two are the description of the problematic consciousness, literature review , theory models and research methods; Chapter three refers to the construction of stove (the formation of stove).At first, this thesis simply introduce the origin and location of stove in architecture. Before making stove, one must consider planning theory like Feng-Shui, the ceremony of setting or pulling down the stove. Then we discuss the phase of design and construction which includes fuel material, fire-way technique, building technique. Finally the chapter ends up with a craftsman Chen’s demonstration.
Chapter four refers to the life context of stove and its related behavior. We’ll mention the applied technique (catching fire, cooking) and stove as a means, through which people react to each other while kitchen god is there watching everything. Space ,therefore, provides multilateral fields. When cooking becomes a social activity, we could see the complicated relationships and culture. The word”atmosphere” is used to describe the communicative language and the interactive affection. Then, from literature and painting about stove, we interpret the aspect of affection towards stove. In the end , we find the symbol of stove is connected with the meaning of home. Chapter five explains the reason why traditional stoves disappeared – modernization. When did modernization begin? How was the lifestyle changed? And the thesis reveals the meaning of gap between traditional kitchen stove and modern kitchen unit, such as gas heater and microwave oven.
In chapter six, traditional kitchen stove’s position in architectural history will be established and the reason why it’s absent in architectural history would be analyzed. Stove constructs the whole life by trialectics of space- gender- capital. It is the heart of architecture,which not only links the public and the private ;space and people together ,but also takes responsibility of feeding and maintaining people. Although stove is on border (the edge of space and gender), by seeing it, we inspiringly sense a kind of transdisciplinary scope emerging. The writing of architectural history should be open-mined to multilateral analytical tools.This idea clearly elucidates why I use the title: “The Heart of Architecture, The Fire on Border.” Due to time frame and resources, the research field (time and place) chosen by this thesis would be set in postwar Taiwan.第一章 大灶魅影……………………………………………………………………1
第一節 研究緣起………..………………………………………………………..1
一、一個都市小孩看大灶………………………………………………………1
二、爐灶的轉化與研究…………………………………………………………2
第二節 基本問題意識……………………………………………………………3
一、 灶為中介……………………………………………………………………3
二、灶在建築史裡的缺席………………………………………………….…...4
第三節 研究發問……………………………………………………………........5
第四節 研究意義與目的…………………………………………………………6
第二章 文獻回顧與研究方法………………………………………………………7
第一節 廚房炊具之技術史與文化史 …………………………………………..7
一、國外文獻：西方廚房歷史……………………………….……………..…..7
二、中華炊具食器之起源…………………………………….…………………7
三、傳統廚房的空間文化形式……………………………….…………………8
四、大灶的形式發展………………………………………………………...…..9
五、灶之文化探索…………………………………………….….…………….10
六、台灣近代廚房之研究………………………………………………………14
第二節 理論借鏡………………………………………………………………..16
一、建築研究方法－構造及空間結構…………………………………...........16
二、家戶空間與性別意識…………………………………..….………………17
三、社會空間之生產與分析……………………………………………………18
第三節 研究方法………………………………………………………………..20
一、資料蒐集與文獻回顧……………………………………………………..20
二、田野探索與測繪－禮失求諸野…………….……………………………..20
三、研究流程圖………………………………….……………………………..23
第四節 寫作策略………………………………………………………………..23
一、跨領域之分析性工具……………………………………….…………….23
二、 理論模型－空間生產、性別角色、場域資本的三元辯證.…….............25
三、 論文結構與邏輯…………………………………………….………….....27
四、 研究者自身限制…………………………………………….…………….28
第三章 灶之營造…………………………………………………….…………….29
第一節 灶位及形式….………………………………………………………….28
一、傳統合院的廚房位置及灶位………….………………………………….29
二、傳統長形連棟式店屋/透天厝的廚房位置及灶位……….………………33
第二節 灶的規劃理論…………….………………………………………….....35
一、風水與灶法…………….………………………………………………….35
二、灶的構築……………...…………………………………………………...41
三、匠人的符咒………………………………………………….…………….43
四、拆灶重蓋－亡羊補牢，猶未晚也………………………………………..44
第三節 燃料、設計與類型…………………………………………………......45
一、燃燒材料種類……………………………………………………………..45
二、灶之設計－構造與火路技術……………………………………………..49
三、灶的類型學………………………………………….…………………….58
第四節 一個大灶的營造案例…………………………………………………..66
一、作灶師傅小傳……………………………………………………………..66
二、技術資本的解祕－營造示範………………………………………..…....68
三、匠師們之不同詮釋………………………………………………………..83
第四章 灶之空間經驗……………………………………………………………..86
第一節 民以食為天……………………………………………………………..86
一、炊具技術為社會文化符碼所鑲嵌………………………………………..86
二、生活秩序的建構…………………………………………………………..89
第二節 巧婦難為無「灶」之炊………………………………………………..90
一、生活脈絡-是誰在勞動?...............................................................................90
二、大灶使用經驗－從起火作飯到其他附加用途………...………………..100
三、走進廚房－大灶生產系統設備……………...…………………………..107
第三節 灶之社會空間、認同與權力………………………..………………..110
一、神祕氛圍－構築生成之場域…………………………………………….111
二、爭競氛圍－廚房空間裡的雙重鬥爭場域…………………….................112
三、認同氛圍－愛、個人風格、煮食的社會意義…………………............126
四、監視氛圍－灶神－表徵空間之信仰場域………………….……………128
第四節 空間的表徵－形式、情感與象徵再現………………………………133
一、文藝作品中的形式與情感……………..………………………………..133
二、灶的象徵－家的意義－薪火之意象…………………………………….141
第五章 灶之死－現代化歷程考察………………………………………………143
第一節 廚房現代化的原動力－能源開發諸形式……………………………..143
一、基礎能源－電……………………………………………………………144
二、洗滌與飲水－自來水…………………………………………………….145
三、瓦斯爐的燃料－天然氣(液化石油氣)的採取…………………………..146
四、廚房空間的工業化…………………………………………………........147
第二節 台灣家庭結構與需求形式之變遷－社會空間的改變………………149
一、農業社會的衰微…………………………………………………………..149
二、建築形式的改變………….………………………………………………152
三、婦女勞動參與率、離婚率…………………………………………………153
四、政策的推動－好國家、好廚房？……………………………………….154
第三節 新廚房形式、象徵及其爭議…………………………………………..154
一、形式與系統………………………………………………………………155
二、象徵資本………………………………………………………………….155
三、新廚具所待解之矛盾…………………………………………………….156
四、分道揚飆－現代廚具與傳統大灶的邏輯差異………………………….160
第六章 結論－建築史爐灶篇的開放性寫作……………………………………162
第一節 生活空間的建構…………………………………………………………162
一、空間生產、性別角色、場域資本的三元辯證……………………………162
二、親代化與三元辯證的新互動……………………………………………169
三、現代化與意義轉化－詩意的異質空間…………………………………169
第二節 方法論的反省－為寬廣的建築史取向加柴添薪……………….……...170
一、灶在傳統建築史上缺席之原因………………………………………….170
二、建築之心．邊境之炬－文化象徵地景....................................................174
參考文獻……………………………………………………………………………178
附錄一 其他測繪記錄拾遺………………………………………………………185
附錄二 訪談大綱…………………………………………………………………186
附錄三 訪談稿選輯……………………………………………………………....190
一、彰化林家訪談……………………………………………………………190
二、許氏夫婦訪談……………………………………………………………203
三、陳金井作灶師傅訪談……………………………………………………211
四、民間美術研究者黃永松先生訪談………………………………………22
Cooling the Heated Plate by Piezoelectric Fans with Different Shapes
No full text本研究以壓電風扇之散熱為主軸，使用PIV高速粒子影像測速法分析不同扇葉的流場，探討其散熱之熱阻值與流場之間的關係。前人研究主要著重在各種參數的散熱效益，尤其是壓電風扇的擺放位置與鳍片設計等，較少探討壓電風扇的流場量測與散熱原因，本研究將深入探討不同扇葉的散熱機制，藉由實驗來解釋其散熱機制如何運作。 為了探討不同扇葉的基本特性，本研究將實驗分為常溫與加熱情況，在常溫下先觀察各種扇葉的流場結構與速度分布，再放入加熱流場中對加熱板進行散熱，並利用加熱板內三個不同位置的熱電偶計算表面溫度與熱通量，進而得到其熱阻值，同時觀察流場變化，分析不同扇葉之熱阻值不同的原因。 本研究對於不同扇葉的散熱特性如下：(1) 扇葉前緣寬度越小會產生較大的共振頻率，頻率越高散熱效果越好。(2) 在共振頻率相同的情況下，倒梯形扇葉因為其扇葉漸縮的特性，能夠在上游造成集中的衝流帶入加熱板中，使得熱阻值最低；而梯形扇葉則因衝流範圍太大，在加熱板上方的空氣會造成短時間滯留導致散熱效果較差。 (3) 壓電片受到溫度的影響很大，本研究使用的壓電片在約60 ℃開始振幅大幅降低，並顫動產生大量的振動熱使溫度持續升高至燒壞，若要使用壓電風扇散熱，建議挑選居禮溫度較高的壓電片，以避免類似情況發生。 本研究歸納之壓電風扇扇葉的流場特性，可使用在電子元件的散熱上，從幾何空間中挑選較佳的扇葉形狀來幫助散熱，使得電子元件工作溫度降低讓其長久使用的改善。Effect of the piezoelectric fan with different shapes on cooling the heated plate has been investigated experimentally. Previous studies focused mainly on the cooling effectiveness under various parameters, especially the piezoelectric fan of its location and the heat sink of its fin design, but less exploring their transient flow structure and mechanism. Herein, we observe the air flow near the heated plate and illustrate the mechanism with velocity and vorticity distribution of hot flow. Three blade shapes of piezoelectric fans– trapezoid, rectangle, and invert trapezoid were analyzed at the similar frequency. Trapezoidal shapes have wide root and short leading edge of the blade, and invert-trapezoidal shapes are opposite. The piezoelectric fan was vibrating up and down at 15 mm above the ground parallels the heated plate. To explore the relationship between the thermal resistance and the flow structure, we measured velocity, vorticity and thermal resistance via high-speed particle image velocimetry (PIV) and thermocouples embedded in the heated device. The results reveal that the thermal resistance in invert-trapezoidal shape is 5-9 % less than in other shapes at the similar frequency. Because invert-trapezoidal shape generates more concentrated downward oscillating airflow, the flow is separated into left and right airflows and takes the heat away from the plate after arriving the heated plate. This forced convection enhance the heat dissipation and decreases thermal resistance between the hot plate and the surroundings. However, downward airflow generated by the trapezoidal shape is so wide that it cannot be spilt easily onto the heated plate. Our research for the flow characteristics of the piezoelectric of different fan shapes can be applied to the cooling electronic devices. By selecting an invert-trapezoid fan shape, more heat can be dissipated from electronic devices. Therefore, the enhancement of heat transfer which sheds light on the concept of optimal design for cooling devices effectively extends the lifespan of electronics and improves their performance
Estimating the Asymmetric Effects of Monetary Policy using a Two-Tiered Stochastic Frontier Model
No full text本文首度採用創新的計量模型-雙層隨機邊界模型-分析貨幣政策在景氣循環下的效果為何。估計變數方面，本文採用Romer and Romer (2004)提出的外生性貨幣政策衡量新指標，作為本文研究貨幣政策效果的依據。此外，本文同時將聯邦資金利率、領先景氣指標和政府財政政策等變數考慮進模型中，以避免文獻上所提出可能的內生性問題。樣本期間的選擇為1970年第一季至1996年第四季的資料。
實證結果發現，聯準會的外生性貨幣政策在景氣低迷時對於實質產出有刺激的效果；然而，在景氣熱絡時對於實質產出的緊縮效果則不顯著。更進一步發現，在1979年代以前的外生性貨幣政策，不論是在景氣熱絡或是低迷時均對於產出均無顯著的影響，而在1985年金融證券化以後的外生性貨幣政策在景氣低迷時的效果則較1985年以前的大且顯著。In this thesis, we first used an innovative econometric model, two-tiered stochastic frontier model, to analyze the effect of monetary policy in different phases of business cycles. In particular, we hypothesized that the monetary policy has different effects in booms (i.e., positive output gaps) and busts (i.e., negative output gaps) over business cycles, and the output gaps are suitably captured by the two-tiered frontier model. We used the US quarterly data from 1970:Q1 to 1996:Q4 as the empirical sample. The stance of monetary policy is measured by the index of Romer and Romer (2004) which is shown to have superior characteristics compared to other measures of monetary policy. Other variables are included in the model to control of the omitted variable problem.
Our results show that a positive monetary innovation in recession is more effective than the negative innovation in boom. Furthermore, we find that the monetary policy shock has no significant effect before 1979 in either expansion or recession periods. On the other hand, the monetary policy innovation is larger and more significant in recessions after 1985 than before 1985
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Jie zi yuan hua zhuan : chu, er, san ji /
No full textBen shu wei zeng guang ben.At head of title: Li Liweng xian sheng lun ding yu nei zhu ming jia he ding.Mode of access: Internet
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