An Aesthetic of Mechanical Strength

Back when I taught materials science to chemical engineers, I used the following poem to teach my aesthetic for the strength target for product design:

The secret to design, as the parson explained, is that the weakest part must withstand the strain. And if that part is to withstand the test, then it must be made as strong as all the rest. (by R.E. Buxbaum, based on “The Wonderful, One-hoss Shay, by Oliver Wendell Holmes, 1858).

My thought was, if my students had no idea what good mechanical design looked like, they’d never  be able to it well. I wanted them to realize that there is always a weakest part of any device or process for every type of failure. Good design accepts this and designs everything else around it. You make sure that the device will fail at a part of your choosing, when it fails, preferably one that you can repair easily and cheaply (a fuse, or a door hinge), and which doesn’t cause too much mayhem when it fails. Once this failure part is chosen and in place, I taught that the rest should be stronger, but there is no point in making any other part of that failure chain significantly stronger than the weakest link. Thus for example, once you’ve decided to use a fuse of a certain amperage, there is no point in making the rest of the wiring take more than 2-3 times the amperage of the fuse.

This is an aesthetic argument, of course, but it’s important for a person to know what good work looks like (to me, and perhaps to the student) — beyond just by compliments from the boss or grades from me. Some day, I’ll be gone, and the boss won’t be looking. There are other design issues too: If you don’t know what the failure point is, make a prototype and test it to failure, and if you don’t like what you see, remodel accordingly. If you like the point of failure but decide you really want to make the device stronger or more robust, be aware that this may involve strengthening that part only, or strengthening the entire chain of parts so they are as failure resistant as this part (the former is cheaper).

I also wanted to teach that there are many failure chains to look out for: many ways that things can wrong beyond breaking. Check for failure by fire, melting, explosion, smell, shock, rust, and even color change. Color change should not be ignored, BTW; there are many products that people won’t use as soon as they look bad (cars, for example). Make sure that each failure chain has it’s own known, chosen weak link. In a car, the paint on a car should fade, chip, or peel some (small) time before the metal underneath starts rusting or sagging (at least that’s my aesthetic). And in the DuPont gun-powder mill below, one wall should be weaker so that the walls should blow outward the right way (away from traffic).Be aware that human error is the most common failure mode: design to make things acceptably idiot-proof.

Dupont powder mills had a thinner wall and a stronger wall so that, if there were an explosion it would blow out towards the river. This mill has a second wall to protect workers. The thinner wall should be barely strong enough to stand up to wind and rain; the stronger walls should stand up to explosions that blow out the other wall.

Dupont powder mills had a thinner wall and a stronger wall so that, if there were an explosion, it would blow out ‘safely.’ This mill has a second wall to protect workers. The thinner wall must be strong enough to stand up to wind and rain; the stronger walls should stand up to all likely explosions.

Related to my aesthetic of mechanical strength, I tried to teach an aesthetic of cost, weight, appearance, and green: Choose materials that are cheaper, rather than more expensive; use less weight rather than more if both ways worked equally well. Use materials that look better if you’ve got the choice, and use recyclable materials. These all derive from the well-known axiom, omit needless stuff. Or, as William of Occam put it, “Entia non sunt multiplicanda sine necessitate.” As an aside, I’ve found that, when engineers use Latin, we look smart: “lingua bona lingua motua est.” (a good language is a dead language) — it’s the same with quoting 19th century poets, BTW: dead 19th century poets are far better than undead ones, but I digress.

Use of recyclable materials gets you out of lots of problems relative to materials that must be disposed of. E.g. if you use aluminum insulation (recyclable) instead of ceramic fiber, you will have an easier time getting rid of the scrap. As a result, you are not as likely to expose your workers (or you) to mesothelioma, or similar disease. You should not have to pay someone to haul away excess or damaged product; a scraper will oblige, and he may even pay you for it if you have enough. Recycling helps cash flow with decommissioning too, when money is tight. It’s better to find your $1 worth of scrap is now worth $2 instead of discovering that your $1 worth of garbage now costs $2 to haul away. By the way, most heat loss is from black body radiation, so aluminum foil may actually work better than ceramics of the same thermal conductivity.

Buildings can be recycled too. Buy them and sell them as needed. Shipping containers make for great lab buildings because they are cheap, strong, and movable. You can sell them off-site when you’re done. We have a shipping container lab building, and a shipping container storage building — both worth more now than when I bought them. They are also rather attractive with our advertising on them — attractive according to my design aesthetic. Here’s an insight into why chemical engineers earn more than chemists; and insight into the difference between mechanical engineering and civil engineering. Here’s an architecture aesthetic. Here’s one about the scientific method.

Robert E. Buxbaum, October 31, 2013

6 thoughts on “An Aesthetic of Mechanical Strength

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