Tag Archives: structure

Wood, the strongest material for some things, like table-tops

Natural wood has a lower critical strength than most modern materials, and a lower elastic constant, yet it is the strongest material for some applications because it is remarkably light and remarkably cheap on a per-volume or weight. In some important applications, high strength per volume is the important measure, and in virtually every case high strength per dollar is relevant. Consider the table top: it should support a person standing on it, as one might do to change a lightbulb, and it should not weigh too much, or cost too much.

A 250 lb man on a table. The table should not weight too much, nor cost too much, yet it should support the man.

I’ve drawn a 9 foot by 4 foot table at left, with a 250 lb person in the center. Assuming that the thickness of the table is t, the deflection in the center, ∂, is found by the formula ∂ =FL3/4Ewt3. Here, F is the downward force, 250 lbs (a bit higher if we include the weight of the table), L is the length between the supports, 6 feet = 72 inches, E is the elastic constant of the table top, 2,300,000 psi assuming ash wood, w is the width of the table, 48″, and t is the thickness, let’s say 1″.

Using the formula above, we fid that the deflection of this tabletop is 0.211″ for a force of 250 lbs. That’s not bad. The weight of the 9′ table top is 125 lbs, which is not too bad either, and the cost is likely going to be acceptable: ash is a fairly cheap, nice-looking wood.

By comparison, consider using a 1/4″ thick sheet of structural aluminum, alloy 6061. The cost will be much higher and the weight will be the same as for the 1′ thick piece of ash. That’s because the density of aluminum is 2.7 g/cc, more than three times that of ash. Aluminum 6061is four times stiffer than ash, with an elastic constant of 10,000,000 psi, but the resistance to bending is proportional to thickness cubed; and 1/4 cubed is 1/64. We thus find that the 125 lb tabletop of Al alloy will deflect 3.11 inches, about 16 times more than ash, far too much to be acceptable. We could switch to thicker aluminum, 3/8″ for example, but the weight would be 50% higher now, the cost would be yet 50% higher, and the deflection would still be too high, 0.92 inches. Things get even worse with steel since steel is yet-denser, a 1/4″ sheet of steel would deflect about as much as the 3/8″ aluminum, but would weigh about twice as muc. For this application, and many others like it, wood is likely the best choice; its light weight per strength and low cost can’t be beat.

Robert E. Buxbaum, January 11, 2022

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

Escher Architecture – joke?

Caption will say where this is from.

Robert  Leighton, from the New Yorker,

Is funny because …. there’s an Escher-like impossible structure and a dirty word (ass, tee hee). Besides that, this joke highlights a fundamental conflict between the architect and the client (customer): what is good architecture?

Typically the customer whats a home or office that “looks nice”, “doesn’t cost too much”, and “works,” perhaps as an advertisement for the company. Often the architect wants to make a statement for him/herself, or wants to produce a work of art. Left to their own, architects can produce expensive monuments that no one can live in.

A wonderful (horrible) case concerns The Cooper Union, my alma mater, and more-or-less the only free college in America. The Cooper Union was founded by an inventive mechanic, Peter Cooper, see my biography, who invented jello, and rolled steel, laid the transatlantic cable, founded AT&T, and managed to give free education to a century and a half of students. The trustees of the school tore down the old, serviceable building, sold the land, and built a $270,000,000 dollar monstrosity. Hailed by the New York Times as great architecture, it bankrupted the school, and is unusable for the sort of hands-on education that Peter Cooper devised.

In hopes of attracting a rich donor, Cooper Union borrowed $175 million to erect this grotesque building for its engineering department. No donor materialized, and, as a result, the school’s 155-year-old policy of free tuition has vaporized.

In hopes of attracting a rich donor, Cooper Union sold its engineering building and borrowed $175 million to erect this replacement. No donor materialized, and, with it, a 155-year-old policy of free tuition.

Here’s a surrealist jokean engineer joke, and a thought on control engineering. Here too is a  sculpture I put on top of my building; the eyes follow you.

R.E. Buxbaum, July 8, 2013; I do consulting on hydrogen, and my company makes hydrogen products.

What’s Holding Gilroy on the Roof

We recently put a sculpture on our roof: Gilroy, or “Mr Hydrogen.” It’s a larger version of a creepy face sculpture I’d made some moths ago. Like it, and my saber-toothed tiger, the eyes follow you. A worry about this version: is there enough keeping it from blowing down on the cars? Anyone who puts up a large structure must address this worry, but I’m a professional engineer with a PhD from Princeton, so my answer is a bit different from most.

Gilroy (Mr Hydrogen) sculpture on roof of REB Research & Consulting. The eyes follow you.

Gilroy (Mr Hydrogen) sculpture on roof of REB Research & Consulting. The eyes follow you. Aim is that it should withstand 50 mph winds.

The main force on most any structure is the wind (the pyramids are classic exceptions). Wind force is generally proportional to the exposed area and to the wind-speed squared: something called form-drag or quadratic drag. Since force is related to wind-speed, I start with some good statistics for wind speed, shown in the figure below for Detroit where we are.

The highest Detroit wind speeds are typically only 16 mph, but every few years the winds are seen to reach 23 mph. These are low relative to many locations: Detroit has does not get hurricanes and rarely gets tornadoes. Despite this, I’ve decided to brace the sculpture to withstand winds of 50 mph, or 22.3 m/s. On the unlikely chance there is a tornado, I figure there would be so much other flotsam that I would not have to answer about losing my head. (For why Detroit does not get hurricanes or tornadoes, see here. If you want to know why tornadoes lift things, see here).

The maximum area Gilroy presents is 1.5 m2. The wind force is calculated by multiplying this area by the kinetic energy loss per second 1/2ρv2, times a form factor.  F= (Area)*ƒ* 1/2ρv2, where ρ is the density of air, 1.29Kg/m3, and v is velocity, 22.3 m/s. The form factor, ƒ, is about 1.25 for this shape: ƒ is found to be 1.15 for a flat plane, and 1.1 to 1.3 a rough sphere or ski-jumper. F = 1.5*1.25* (1/2 *1.29*22.32) = 603 Nt = 134 lb.; pressure is this divided by area. Since the weight is only about 40 lbs, I find I have to tie down the sculpture. I’ve done that with a 150 lb rope, tying it to a steel vent pipe.

Wind speed for Detroit month by month. Used to calculate the force. From http://weatherspark.com/averages/30042/Detroit-Michigan-United-States

Wind speed for Detroit month by month. Used to calculate the force. From http://weatherspark.com/averages/30042/Detroit-Michigan-United-States

It is possible that there’s a viscous lift force too, but it is likely to be small given the blunt shape and the flow Reynolds number: 3190. There is also the worry that Gilroy might fall apart from vibration. Gilroy is made of 3/4″ plywood, treated for outdoor use and then painted, but the plywood is held together with 25 steel screws 4″ long x 1/4″ OD. Screws like this will easily hold 134 lbs of steady wind force, but a vibrating wind will cause fatigue in the metal (bend a wire often enough and it falls apart). I figure I can leave Gilroy up for a year or so without worry, but will then go up to replace the screws and check if I have to bring him/ it down.

In the meantime, I’ll want to add a sign under the sculpture: “REB Research, home of Mr Hydrogen” I want to keep things surreal, but want to be safe and make sales.

by Robert E. Buxbaum, June 21, 2013