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- 2019 (33) (remove)
Matrix-free voxel-based finite element method for materials with heterogeneous microstructures
(2019)
Modern image detection techniques such as micro computer tomography
(μCT), magnetic resonance imaging (MRI) and scanning electron microscopy (SEM) provide us with high resolution images of the microstructure of materials in a non-invasive and convenient way. They form the basis for the geometrical models of high-resolution analysis, so called image-based analysis.
However especially in 3D, discretizations of these models reach easily the size of 100 Mill. degrees of freedoms and require extensive hardware resources in terms of main memory and computing power to solve the numerical model. Consequently, the focus of this work is to combine and adapt numerical solution methods to reduce the memory demand first and then the computation time and therewith enable an execution of the image-based analysis on modern computer desktops. Hence, the numerical model is a straightforward grid discretization of the voxel-based (pixels with a third dimension) geometry which omits the boundary detection algorithms and allows reduced storage of the finite element data structure and a matrix-free solution algorithm.
This in turn reduce the effort of almost all applied grid-based solution techniques and results in memory efficient and numerically stable algorithms for the microstructural models. Two variants of the matrix-free algorithm are presented. The efficient iterative solution method of conjugate gradients is used with matrix-free applicable preconditioners such as the Jacobi and the especially suited multigrid method. The jagged material boundaries of the voxel-based mesh are smoothed through embedded boundary elements which contain different material information at the integration point and are integrated sub-cell wise though without additional boundary detection. The efficiency of the matrix-free methods can be retained.
The capitalization of ‘certified’ sustainable building sector will be investigated over the power theory of value approach of Jonathan Nitzan and Shimshon Bichler. The study will be initiated by questioning why the environment problems are one of the first items on the agenda and by sharing the ideas of scholars who approaches the subject skeptically, because the predominant literature underlying the necessity and prominence of the topic is already well-known and adapted by the majority. Over the theory developed by Nitzan and Bichler, the concepts of capitalization, strategic sabotage, power, legitimacy, and obedience will be discussed. The hypothesis of “the absentee owners of the construction sector, holding the whip hand and capitalizing the ecology, control the growth and the creativity of green building production and make it carbon-dependent, in order to increase their profit margin” will be questioned. To strengthen the arguments in the hypothesis, the factors, the institutional arrangements, value measurement methods, which affect directly the net present value, will be investigated both in corporation and in building scale in detail, because net present value/ capitalization is asserted as the most important criteria by Nitzan and Bichler to make the investment decisions in the capitalist economic system. To trace the implications of power and the strategic sabotage that power caused, as the empirical dimension of this dissertation, an interface exploring the correlational ties between the climate responsive architecture and the ever changing political, economical, and social contexts and building economics praxis by decades will be developed and the expert interviews will be conducted with the design teams and the appraisers.
In der vorliegenden Arbeit wird die Bedeutung und Funktion des fotografischen Bildes und im Besonderen der Handyfotografie im Kontext von Internet und sozialen Onlinenetzwerken beschrieben, untersucht und diskutiert.
Im Spannungsfeld zwischen sozialwissenschaftlichen Theorien, foto- und medientheoretischem Diskurs sowie ästhetisch künstlerischen Perspektiven wird ausgelotet, welche konkreten visuellen und sozialen Formen die gegenwärtige mobile digitale Bildpraxis angenommen hat, wie sich ihre Gebrauchsweise innerhalb des globalen gesellschaftlichen Alltags darstellt, und in welcher Weise ihr spezielles Zusammenspiel aus „shooting“, „uploading“, „sharing“ zu neuen menschlichen Handlungsmustern und zur Schaffung neuer kultureller Realitäten beiträgt.