Development from birth †19 years Essay Example for Free

Development from birth – 19 years Essay The guide below explains what you might expect from the development of the child through various ages: Physical development: this refers to the body increasing in ability and functionality and comprises of gross motor skills (using large muscles) with movement in their legs and arms whilst also developing fine motor skills (precise use of muscles) such as the movement of fingers and toes. New born babies will lie on their backs with their head held to one side yet turn their head looking for a teat or nipple. They will have primitive reflexes such as swallowing, rooting, grasping, stepping and sucking. By 1 month old head control will be still be unsteady, and their hands will be in tight fists. Babies will grasp at objects that have touched the palm of their hands. they may turn their heads and eyes in unison and smile at familiar faces, smells or sounds, they also like to observe the face of adults at feeding time. At 3 months old they can hold a small object such as a rattle for a few seconds if placed in their hand and enjoys observing movements of their own hands and play with them, kicking their legs and waving arms. They can lift their head and turn when placed on their front. At 4 months they will use their arms to support themselves when laying on their stomachs and can turn from their back to their side. They will hold onto and shake small objects. They will, with support start sitting and will gradually sit unaided by 6 months. They will raise their hands in anticipation of being lifted. At 6 months they will roll over and push their head and chest off the floor when placed on their front. Their hand grasp is more prevalent with whole hand use to pass an object from one hand to the next. At 9 months they will start to move around either by crawling or shuffling and are able to sit alone without the need of support. They will reach out for toys when sitting and poke at small items with their index finger. They will use index and middle fingers along with their thumb in a pincer grip to hold onto small objects and will take and hold a small brick in each hand. They will lift a block but are only capable of releasing it by dropping. If a young baby is held upright they will try to make stepping movements on a firm surface. They will be startled by sudden sounds or bright lights. When hungry, in pain, need changing or comforting they will cry. In their first year they will start to move around either by crawling or shuffling and eventually try to start walking with support. They will start to demonstrate hand inclination and pick up small objects using a tidy pincer grip. They enjoy have the ability to feed themselves and will enjoy doing so, holding cups with assistance. They can click 2 cubes together and put cubes into a box after first being shown had to do so. They can understand the world around them and know who their main carers are and may possibly cry when left with someone they are not familiar with. They will wave goodbye and point at things with their fingers. At 18 months they will clumsily hold a pencil or crayon and try to write with it and use their hands skilfully to arrange and move small objects,dropping things onto the floor whilst looking to see where they are. They can walk downstairs with a held hand and push or pull toys when walking. They can now walk alone and will try to kick, throw and roll a ball. They can turn handles and pull off their shoes, they can use a spoon and hold objects with a delicate pincer grip. They can squat to pick up an object from the floor and will assist with dressing/undressing. By 24 months children can walk up and down the stairs using both feet on each step and will climb onto furniture. They can put their own shoes on and start to use their favourite hand. At 3 years old they can draw dots and circles and build a tower with 6 bricks. They can climb, run and pedal a tricycle, jump from small steps and walk upstairs on alternate feet whilst also being able to walk on tiptoe, they can also kick a ball confidently. They will be able to use the toilet alone, undo buttons and thread large beads. They will clumsily hold a pencil or crayon and try to write with it enjoying painting and drawing activities and are capable of drawing a face. They will also enjoy reading books and having stories read to them, turning single pages in the book. They can build towers with up to 9 bricks and bridges with the bricks when shown. At 4 years old they can walk backwards following a line, run, hop throw, aim and catch a large ball. They can using scissors cut around an object and is able to copy a picture of a square. They can construct a large tower, do a 12 piece jigsaw and button/unbutton their clothes. They are now capable of brushing their own teeth. At the age of 5 years they can skip, run quickly, hit a ball with a bat. They can dress/undress themselves with ease, precisely use scissors and form letters whilst writing their own name. They will draw a person with a body, head and legs and a house. They can complete a 20 piece jigsaw. Between the ages of 6 7 years children will enjoy are now capable of hopping, skating roller blading, skateboarding and bike riding. They can balance on a wall or beam, build complex models and have finer control of constructing bricks, jigsaws etc. The can tie/untie laces and sew simple stitches. They will be able to do detailed drawings and take control of their pencil in a small area. Between 8 12 years they will greatly improve on their physical skills that are already acquired. Puberty will start at around 10 years old for girls with an increase in body strength and a sudden growth spurt. Through the ages of 13 19 years a child/young adults brains development will increase in line with their co-ordination and reaction times. For girls by the age of 14 puberty will be complete and periods will be starting whereas with boys puberty will be between the ages of 13 – 16 years and they will become physically stronger than girls. Social and emotional development: this refers to the development of the childs own identity and self image. Some may want to start doing things for themselves and become more independent. They will develop a sense of their own identity. Learning to live in a family unit and with others in society is a vital part of development in which will be contributed by friends and family. In the initial few months babies will recognise familiar voices and faces, they will try to people please and bay for attention by performing for their audience through laughter and giggles. They will enjoy playing games with others such as peek a boo. From birth to 4 weeks a baby will respond unequivocally to the main carer whilst imitating facial expressions. They will stare at shiny, bright objects At 1 month old they will look intently at carers and social smile for them by 6 weeks old. 4 months old they will try and captivate their carers attention by smiling and vocally. 6 months old they become fascinated with other babies and smile at them. They will interact differently to a variety of family members and begin to seek attention. They become more enamoured in social interaction, dependent on his/her personality and time spent with other children. They may use a comfort object such as a blanket or teddy and display a fear of strangers and separation anxieties when without the main carer. By 9 months old they recognise familiar and unfamiliar faces whilst showing stranger anxiety. They are now very curious in all around them. At 1 year old they become more demanding, emotionally temperamental and assertive. Temper tantrums may begin and they may become despondent about changes to their normal schedule. They may express their anger at being told not to do something and start to develop object continuity. They will begin to play alone. They can now distinguish between themselves and others and is aware of the emotions of other individuals yet still self obsessed with regards to their own view of the world. By 18 months they will show signs of stranger shyness and have tantrums when upset often know as the terrible twos They have trouble understanding the concept of sharing and believe that everything is mine They dislike changes to their routine and can be very selfish. They should now start toilet training. At 2 years old they are still reluctant to share but enjoy the company of other children and may show concern if another child becomes upset. They remain self important are starting to become emotionally stable yet still inclined to sudden mood swings. They know their own identity and are learning to have short periods of time separated from their carers such as attending nursery. At 3 years of age they become more confident and self motivated and have a greater social awareness. They may worry about not fitting in or being liked. They will play alongside others and in 2s or 3s, sharing ideas and being friendly to other children. They may also have best friends. They feel stable and emotionally secure and are less anxious with regards to separation. They are becoming more independent but still need the support and guidance of adults and may fear the loss of a carer. They begin to recognise themselves as an individual. They have a strong sense gender identity. Moral development does not normally occur until a child reaches the age of 3. By 4 years old children enjoy role play and dressing up activities. They start to take turns and respond to reasoning whilst enjoying their independence still need reassurance and encouragement. They understand united and competitive events. At 5 years of age they become absorbed in activities and have a positive sense of self awareness. They become concerned about fitting in and being liked. They establish a fear of the unknown such as monsters under the bed or ghosts. Between the ages of 6 – 7 years children to form stable friendships and are very sympathetic of the other persons needs. They tend to play in separate sex groups. They are fairly self-assured and independent with an increased sense of integrity. Friendships become vital between the ages of 8 – 12 years and are mainly same sex friendships. They are anxious of how others view them and are often hesitant with regards to changes. Between the ages of 13 – 19 years puberty and body changes along with a surge in hormones can disrupt self esteem, they may want to spend more time with friends rather than with their family. They may bow to peer pressure but may also become more self assured with regards to changes in surroundings. They need to determine transitions into adulthood. Intellectual development: These are the learning skills of concentration, understanding and memory. This area of development is greatly influenced by the learning practices a child has. They may imitate others and try to find ways of behaving in play. New born babies will stare intently at their carer and cry when a basic need requires consideration. Their head and eyes will turn towards soft light and blink in reaction to bright ones. At 1 month old they will stare and follow the direction of a dangling ball whilst gazing intently at soft lights. At 3 months they track movements of both small and large objects. At 6 months old they can automatically fix their sight onto small objects nearby and reach out to hold them. They are inquisitive and become readily distracted by movements. They will watch objects fall when in range of their vision. They like to put everything into their mouth. At 9 months they will look towards the direction of falling objects. At 12 months of age they will drop objects purposely whilst watching them fall (casting) Should an object roll out of vision they will look correctly to the area it has gone to. They can distinguish familiar individuals up to 6 metres away. They begin to point at objects of interest outside at the age of 18 months and build towers of 3 cubes when first demonstrated to. They will turn pages in books although may be several at a time rather than singular, relish picture books and point to named characters and objects. They will point to various basic parts of the body. From 3 years of age they will match 2 or 3 primary colours and paint with large brushes and make basic cuts with scissors. They can copy crosses and circles and draw a person with a head. By 5 years they are capable of copying squares and a range of letters, often done with a degree of spontaneity. They can now draw a person with a body, head, arms, legs and certain aspects. They can also draw a house. Pictures will be coloured methodically. They can now name primary colours and match 10 or more of them. They can duplicate symbols, numbers and letters and can decipher between lighter and heavier objects. They understand positioning of behind, next to and in front of. They can rote count up to 20 and know the time of day for basic activities such as school time, bedtime etc. By 6 years of age they are attaining the ability to write some words freely and copy others. They can read basic books sight reading 10 or more words. They can count up to 100 and understand the concept of half and whole. They know when it is their birthday and can predict events that are happening next. Paintings and drawings are now more intricate and sophisticated. Between the ages of 6 – 8 years they develop the capability of thinking about several things at once and comprehend the use of symbols in writing and maths etc. They are more inquisitive to the workings of his/her surroundings. They enjoy participating in games and understand rules. Between 8 – 12 years they are increasingly favouring certain subjects and apply reasoning and logic to certain issues. They can read and write with confidence and are becoming more creative in their play. They learn to transfer the knowledge gained from one situation and use it productively in the next task. Ages 13 – 19 years they develop the ability to think more complexly and will query sources of information. They are becoming more aware of global activities and occurrences. They will have a clear inclination for arts and sciences. Options with regards to their future employment and further education are being explored. Communication and speech development Non verbal communication is as vital to children as it is to adults. In fact children are more likely to use it than adults. Speech is a characteristic of development that can alter greatly without any association to other developmental bearing or to the childs intellectual being. Pre-linguistic is the term given to the stage up to approximately 12 months when a child is beginning to say its first words. Linguistic is the descriptive term given to words with meaning. Pre-linguistic stage Birth to 4 weeks a baby will cry when its basic needs are not being met i.e. hungry, needs changing, emotionally distressed. At 1 month old a baby may stop crying at the sound of a human voice (unless distraught) freeze when a sound is played near to their ear, moving their head towards the sound. Coos in reaction to their carers voice. At 3 months old a baby becomes silent and will turn its head towards the noise of a rattle nearby and make vocal sounds when being spoken to or are alone. When 6 months old they will giggle and shriek loudly during play. They respond variably to different tones of voices. They make baby vowel sounds such as goo ga ga and aah-aah They begin to react to sounds that are out of vision with the appropriate visual response. Babies will shout for attention from 9 months and vocalises for a connection. They will begin to use dual syllable words such as baba mam-mam and dad-dad They duplicate adult vocal sounds like lip smacking or coughing. They can comprehend the meaning of no and bye-bye. They will have an instantaneous reaction to to a hearing test performed out of vision and behind the baby. At 1 years of age a baby will know its own name and can perceive roughly 20 words in context. They can comprehend simple messages for example close your eyes, clap hands. They will use gibberish in conversation form with majority vowel sounds. Linguistic stage 12 – 18 months, babies will use between 6 – 20 recognisable words as their first words and can understand much more of what is spoken to them. They will reverberate leading or last words in sentences. They will try to affiliate themselves in nursery rhymes and respond appropriately to simple instructions such as pick up your toy or pass me your cup At 18 – 24 months they begin to make basic 2 word sentences and can use more than 200 words by the age of 2 years old. Their speech will be telegraphic in that they will use key vital words but may miss out connective ones. They will refer to their own name and talk to themselves during play themed activities. Between the ages of 2 – 3 years they have a increasing expanse of dialect including plurals. They can participate in simple conversations and enjoy the repetitiveness of the their favourite stories being re told. They can now rote count to 10. Between 3 – 4 years their speech will understood by strangers and can form short, grammatically accurate sentences. Although they may still make errors of tenses they now begin to ask many questions such as why? who? and how? They can name parts of their body and also name animals. Between the years of 4 – 8 speech is more fluent and precise, they will use a more expressive language. They can inform you of their full name, address and birthday and will enjoy jokes, songs and rhymes etc. They have a increasing expanse of vocabulary – 5,000 words by the age of 5. They will recognise when an unfamiliar word is used and will question the meaning of it and can imitate correctly accents that they have heard. They can form most sounds with some residual trouble at some letter groups. From 8 years onwards the majority of children are fluent speakers, writers and readers off their own language with the enhanced use of peer influenced, de coded speech. With the autistic child I work along side I follow the guidelines of P Levels which is a programme that gives me information on the varying categories of the developmental processs. I then can record each and every stage my autistic pupil is at and refer to what his expectations are and also via his Individual Educational Learning Plan (IEP)

Appropriation and Important Postmodern Strategy

Appropriation and Important Postmodern Strategy Important shifts in visual strategies in the arts mark the historic cross-over from the Modern to the postmodern paradigm. While this holds equally true in music and literature, it is the evolution of such strategies in the visual arts that this essay concentrates on. While such demarcation cannot be pinned down to a specific year or date, it is possible to convincingly chart this shift via an examination of the working strategies of three important painters: Americans Andy Warhol and David Salle, and Australias Imants Tillers. Postmodern art, by definition, rejects strict genre confines and, unlike modern art, celebrates the mixing of forms and ideas. As a result of this rejection, postmodernism advertises the use of irony, parody, satire, humour and collage. The use of appropriation in art is a useful strategy for commenting on or criticising aspects of life by recontextualising an image or object of already determined meaning. Giving new meaning to, or building upon the meaning of, an existing idea by redefining its context is an effective tool that alters or interferes with the viewers original association with an object or idea. This being immediately recognisable as a postmodern approach due to its embrace of contradiction, diversity and the unconventional. This is important as the message translates easily, giving meaning to a modern day audience. David Salles Tragedy, 1995, is a diptych. The right-hand panel is performed in grisaille, a technique predominantly used to render figures from one base colour or monotones, greatly accentuating the mood. In this panel are two figures, a smirking female, obliquely behind the main male figure who sits with hands on knees with the face distorted into a grotesque parody of despair. The left panels apparent pastiche is backgrounded by what appears to be a domestic scene derived from a 1950s advertisement, possibly a direct reference to Richard Hamiltons landmark artwork Just what is it that makes todays homes so different, so appealing? (1956), a work widely considered as a seminal precursor to Pop art. There is also a possible death motif in reference to the Cold War and the anxiety of the Atomic age of the post-WW2 West. In the centre is a black and white photograph of a bomb blast, surrounded by lemons, with a black glove at the top right corner. The explosion could also be representational of death, as well as the black glove being a traditional mourning trope, these funerary motifs all relating back to the tragic tone of the artwork, and the mans expression. Salles work is more about juxtaposition which he uses as a strategy to destabilise the ways in which we traditionally see, and at the same time reconfigure traditional visual narrative. He leans heavily on a simple strategy of montaging images of the banal and everyday. The effect is jarring and visually disturbing. In this, we can see his indebtedness to the better aspects of Pop like Warhol and James Rosenquist. Salle also created another diptych work entitled Comedy (1995) using the same layout, but mirrored with opposite facial expressions on the figures; as the man with an exaggerated frown in Tragedy now smiles in Comedy. The left panel of Comedy is also rendered in grisaille. In the right panel, an advertisement for a bedroom suite is set on its side and like the artists early works is collaged with additional imagery: a black and white photograph of a headless female fashion mannequin, enclosed by a garland of butterflies, and below a theatrically ruffled harlequin collar.   The paired titles may refer directly to Salles set and costume designs for ballet and theatre, as well as his endeavour into directing the 1995 feature film Search and Destroy. The tropes of the frilled glove and harlequin collar in Salles work of the early nineties hints to his involvement with the performing arts. A cinematic feel can also be identified in Salles juxtapositions of scenes that conjure a cinematic impression in which components are arranged to produce an alternative meaning that is not, indeed cannot, be seen in the singular images alone. The fact that the images of the man in the foreground are reversed when comparing Comedy and Tragedy also gives the viewer an ironic configuration of the Janus, the tragic and comic faces are referenced, via each other, into a singular idea. The God Janus was the protector of gates and doors, beginnings and endings and dates to Roman times. But beyond the traditional trope of the Janus, is the fact that he is two-faced. It may be of some interest to note that, before making it big as an artist Salle worked for a short time in the late 1970s as a paste-up artist for  Stag magazine, a pornographic publication. It is interesting to note that highly sexualised and fetish images making a regular appearance in his works of the 1980s. In  Tragedy  the main figure is haloed by a biomorphic shape, at once visceral and phallic. If this motif is indeed phallic, along with the bomb blast possibly symbolising a premature explosion, Tragedy may well portray a failure of male potency. Taking this reading,  Comedy must surely read as the opposite: the main male figure beams, proud and confident as opposite a bio-morphically enclosed female mannequin in a flowing gown stands without a head. The fact the female mannequin is headless is also interesting, being without identity, the female strictly objectified. The porn aesthetic is genuinely interesting though. While porn does not read compositionally the same as any other figurative traditions, porns narratives run to succinct, highly predictable paradigms. Pasting-up, now a dead skill as all such work is now done on a computer, was physically very much like a collage. Pasting-up is a compositional exercise where images and/or text are literally separate physical items pasted into position on a board for photo reproduction prior to final printing. So we could argue that some of Salles visual sensibility the recurring figures and images, the outlines of figures and objects cast over earlier images and grounds could have derived from his work for a porn publication. Salle was raised on the mythology of the Abstract Expressionists. Accordingly, the scale of his work is New York School-size; his 1995 diptych Tragedy is over 3.5 metres in length. Salle also defers to the Abstract Expressionist myth of all-over composition, the famous domain of Jackson Pollock. But rather than the frenetic, energetic marks of Pollocks famous Poured Period, Salle crams his canvasses full of eclectic figures and objects, often dissimilar and jarring, often seemingly disconnected and layered. It is an ironic homage to the macho painters of the New York School. Salle is widely considered one of the early blatantly postmodern painters by virtue of his subversion of the recognisable, and by distorting the familiar via awkward juxtapositions and unlikely compositional decisions. He drew from such widely artistic traditions as Minimalism, Abstract Expressionism, Pop Art, Realism and Cubism as well as images from popular culture. Although much of his work seems highly symbolic, Salles paintings seem not to contain a specific message, but rather leave space for the viewer to interact, to read into, the work. It is this interaction that brings the work to meaningful completion. This active engagement of the viewer is also a prime postmodern strategy. Imant Tillers use of quotation and appropriation has seen him classified as one of the early postmodern painters. His approach has a clearly personal element, despite appropriating imagery from both unknown and famous artists alike. Tillers 1985 work The Nine Shots is a an abstract figure who appears to be laying sprawled on his back, with nine target shapes all about him. Instantly, one can see the direct influence of Indigenous art influence on this piece. Tillers notably recontextualises the circular Indigenous motif for camp site or resting place to represent bullet holes. The main Aboriginal image Tillers has appropriated in The Nine Shots was Michael Nelson Tjagamarras Five dreamings, 1982. This appropriation lead to some considerable controversy, with allegations that appropriating Aboriginal imagery without permission impinged upon the moral privileges of the artist. The offence being exacerbated by the indissolubility of Aboriginal art from its environment. Tillers seemingly questioned identity established by and arising from locality by displaying appropriated cultural imagery with other images from different contexts. Over the next decade Tillers relationship with aboriginal art developed, even to the point of gaining a personal friendship with Tjagamarra whose work he incorporated without permission, the two even collaborating together in Nature Speaks: Y (Possum Dreaming) in 2001 using Aboriginal Walibri motifs. Walibri icons subsequently appearing as common elements in Tillers later work as a result. Tillers appropriation of aboriginal signs seems now to be more an appreciation of their artistic power. Although there has been no change in Tillers practice of appropriating Aboriginal art in his own work without permission, it could be deduced that the moral dilemma surrounding the re-using of sacred Aboriginal artworks has become less controversial, its treatment becoming more alike non-aboriginal art. While appropriating, building upon, borrowing from and being influenced by others art is now a mainstay of postmodern art, it is never going to be without hazard as art is not confined to particular types of objects. Aboriginal art it is a device of selfdom, a title deed to the land, a cypher of ancestral presence. It is the situation that Aboriginal law reserves rights to produce these sacred works to a limited group of artists and the infraction of these rights in the unauthorised borrowing of such art can be seen as a type of sacrilege that affects the foundation of the artists society. While widely recognised as the chief proponent of the Pop idiom, specific early works by Andy Warhol can retrospectively demonstrate the decline of the Modernist period. Warhols rejection of the machismo of the New York School is a classic Oedipal strategy. The best of the Abstract Expressionists had traded heavily on the supposed Jungian content of their work, whereby meaning was derived from the actual physical laying down of paint on canvas. Most notable of these, of course, was Jackson Pollock who was on the record in interview touting his Jungian pedigree. By implication also, this Jungian ideal cashed out on the implicit value of originality. To witness the extent to which adoration of the authentic mark of the artist extended, one only need examine the huge, stark calligraphic works of Franz Klein. But Warhol was notable in his total rejection of these ideas. His foppish, effeminate persona stood starkly at odds with the Abstract Expressionists who, we must remember, were still practising in the years of Warhols emergence in the early 1960s. In place of the Abstract Expressionists tortured surfaces were Warhols radically underworked monochrome renditions of newspaper advertisements and newspaper headlines as in  $199 Television, 1961. Warhols Campbells soup can, along with images of CocaCola bottles and Marilyn Monroe became the Pop Art movements representing motifs. The soup can being a satirical comment on Americas consumerism. By using the familiar image of Marilyn Monroes face he has turned it purely into an icon of pop culture, and no longer a person with depth and character. Her depiction is now just a shallow symbol of fame and beauty. Warhols signature use of the silkscreen completed his rejection of the New York style of painting of the late 1940s and 1950s. The silkscreen stood as a reproducible artwork, and the mechanic nature of this production put the artists hand at one remove from the finished product, especially given Warhol employed assistants to make the actual work while he stood as supervisor, and oversaw production.   In 1964 Warhol was one of ten artists commissioned to produce work for the World Trade Fair to be held in New York. Warhols contribution, Most Wanted Men, 1964 featured silkscreen portraits taken from FBI mugshots. This mural-sized work was installed on the outside wall of the Circarama, a one hundred foot circular cinema in which a 360-degree view of New York was projected. Within days of its installation, however, the Circaramas architect, Philip Johnson, had asked Warhol to remove Most Wanted Men, saying the New York State governor thought it would offend the many Italians among his constituents, given all the men depicted were Italian. Given twenty-four hours to replace or remove the work, Warhol had his assistants scale ladders and cover the portraits with industrial silver paint. The strategy is intriguing. Beginning with the idea of appropriating photographs, photo-silkscreening them to find the appropriate scale, and then, after the order that it be removed, Warhol chooses not to replace the work, but complete it with the metaphoric mirroring of the silver paint-out of the original image.   In real terms then, the interference or censoring offered by the Trade Fair organisers and associated politicians, did not necessarily result in a failure of this work. In the same way that many postmodern artists position their viewers to interact with a work in order to complete it, or find meaning, so Warhol played with the critical interference he was offered in a way that served the work and, perhaps more importantly, appended Most Wanted Men with a complex narrative that sited the artist as the  enfant terrible or provocateur who, in completing the work with a crude, industrial silver skin, metaphorically throws an unacknowledged and (given the ambiguity of its title, homoerotic) Narcissistic impulse back in the faces of the authorities. So whether the artists intent is purely representing a personal side of themselves to an audience, or to provoke controversy and questioning from the public, the use of appropriation is a useful strategy of postmodernity as it requires the participation of audience thought to make a work complete. This would seem very unconventional to Modern art, but thats what makes appropriation or recontextualization such a powerful postmodern tool. Salles personal love of the theatrical, Tillers questioning of sacred aboriginal art or Warhols parodic use of popular and commercial products; As can be seen from these well known artists and artworks of the postmodern era, building upon or giving new meaning to an image or object is a very efficient way of producing art with a message behind it.

Influences of Japanese Design on Western Architecture

Influences of Japanese Design on Western Architecture In what ways did the Traditional Architecture and Design of Japan Influence Western Architecture at the turn of the Twentieth Century? Japanese architecture was begun in 57 B.C. Before this time period the majority structures were pit dwellings. In early times Japans architecture was influenced by Korean architecture. The Korean historian have given evidence at time of 57 and 665 B.C in creating original buildings. At that time they built stones which includes Iksan and Miruka. Timber buildings were also made at that time. They were found in underground caves of Samschlich-ong, Yodongsonachong, and Yaksuri. The Japanese architecture tradition is based on the wooden structures of timber, for making Japan attractive they have used little stones for carving. The Japan in the fifth century was fully developed of wood. Architects have designed with gables, saddle roofs, styles and designs. Because the Islands of Japanese architecture are of volcainic origin. The best examples of Japanese architecture is the shrines of the Shinto . After every twenty years they rebuilt these shirnes , the most famous shrine is The Ise Shrine (55 x 127 yards) of the Shinto shrine. Its columns made up from cypress trees , four concentric fences, and the traditional thatched roof, it conveys the message of simplicity and purity. The styles of shrines shows both modern and domestic architecture , the Western architecture were fully influenced from Japanese Architecture. The history of architecture is interesting ,but the Tadao Ando designs forced to undergo Japanese architecture. The westerns has followed their way of structure. 1. WOODEN SINGLE STOREY STRUCTURE: The Japanese architecture is characterized from wooden single storey structure. The main lacking of this tradition is the cave dwellings and stone walls, the nation has not changed their traditional style . In the mid of sixth century ,the Buddhist architecture entered in Japan from China and Korea. The shrine architecture is regarded by the Buddhist architecture which represents the typical wooden single storey structure. The wooden structure is based on posts and beams, its structure from inside is dark that does not suits the human being, the Japanese architecture allows light and breeze, so that there outside area is opened. REFERENCE LIST: http://www.uk.emb-japan.go.jp http://iainmasterton.photoshelter.com CANTILEVER PRINCIPLE: According to the western techniques, material and the styles into Meiji Japan was based on steel and concrete structure. In modern sky scrapers, Japan played an important role because of its familiarity with the cantilever principle to support the heavy tiled temple roofs. Frank Lloyd Wright was fully influenced by Japanese arrangements ideas of interior and exterior spaces, the opening walls of Japan are made up from sliding doors. In the twentieth century the domestic and religious architecture was in Japenese style. The beauty of modern cities sky scrapers was crowded by Tokyos skyline and the total process reflects the western modern forms. After the world war two the urban planning and reconstruction has produced the major architects such as like Maekawa Kunio and Tange Kenzo. Maekawa, the first person who supported Maekawa concept was Charles LeCorbusier , who has full command on modern works.Tange also supported Maekawa and inspire them on Japanese aesthetic ideas into contemporary buildings and the concept of tatamai flooring (sleeping mats) and the textures they were using was brightening the existing ferroconcrete , steel , gardens , sculptures into designs. In a pillar and beam system Tanga has used the cantilever principle for awakening the ancient palaces, the pillar -a hallmark Was a foundation of Japanese historical tradition which is built on timber construction. New city planning was thought by Maki Fumihiko who gave suggestions on the principles of cocooning around an inner space(oku) ,the needs were adopted from urban side. He backed the ideas of Buddhist which is based on the Japanese aesthetic principle and also favored to use the empty spaces (ma). Japanese aesthetic principle was supposed to be based on the Maki designs, which puts attention towards the view of garden and on the sky lines. The architectural concept was changed in 1970 on the metabolism of exchange , they understand the functions of parts of buildings which strongly influenced them. In 1970s and 1980s, the architect Isozaki Arata was a student of Tanga but his theory was focused on LeCorbusier traditions , turned his attention towards the geometric shapes and cubic silhouettes. He formed western technology building to modernize Japan with new styles. In 1980s again a change came to influence their designs and extend it. In the end of 1970s and 1980s they introduced the metaphycisal concepts to reexamine the geometrical shapes to produce fancy architectural designs. They made experiments on Ando Tada style of structure and balanced to modern formula. The building provides a variety of things ehich includes light soruces , glass bricks and opening up of spaces to the outside air. The inner courtyards was adopted by traditional Osaka houses, the urban architecture uses open staircases,and bridges for good atmostphere and standard living. In 1980s his ideas were existing, the buildings were built on open courtyards with terrace spaces, pedestrian walking and built bridges to connect buildings. The third Architecture was awarded, Frances Prix de lAcadà ©mie dArchitecture in 1989 . Japanese architecture was liked by all over the world , because of its modern techniques and styles . Japanese architecture also introduced industrial materials, and a developed awareness of ecological and topographical problems. Tatamai Mats paper doors REFERENCE LIST: http://gojapan.about.com U.S. Library of Congress http://countrystudies.us/japan/82.htm HORIZONTAL AXIS: The large roofs of Japanese architecture is built on horizontal axis and its low profile of shows its presence. It is an achievement of japan that these types of roofs are also present in Asia. In Japan this trend is not because of its climate but ,because of its building structure. In the nineteenith century Japanese were living in single -storey , but when they saw that western are living in two -storey houses .They also started to live in two -storey houses and taller houses. The architects also turned towards facades. In the early twentieth century it was a wake up call for European countries to turned towards Japanese architecture which is based on horizontal axis . The tradition of European architecture was based on vertical axix through facades , but to modernize themselves they started to develop both vertical and horizontal axis. In twentieth century the most prominent architect Kenzo Tange (1913-2005), merged Japanese architecture and mordernism ,which was acceptable by all over the world . It was traditionally composed on the columns and beams for making paintings. Fumihiko Maki, Arata Isozaki, Kisho Kurokawa and Yoshio Taniguchi were the successor of building new designs on horizontal and vertical axis with modern Japanese architecture. At present time Toyo Ito and Tadao continues to take Japanese architecture in new directions. REFERENCE LIST: http://www.uk.emb-japan.go.jp/ GARDENS: HISTORY: The definition of garden is where flowers , fruits and vegetables are cultivated but Japan is more forwarded. In 592 A.D during the reign of Empress Suiko, it is evident that the early gardens were very well developed comprises of artificial hills, ornamental pools and many more . In the Nara period (646-794 AD), the major development occured when japan started trading with China. Chinese changed the culture of Japan and execute the gardens in the elite class of Castles. The nobleman arrange their parties in these gardens where animals, birds and fishes provide movement. In the Heian period (794-1185 AD), the people who can afford gardens they built gardens with Japanese tradition, styles and customs. The Shinden garden is the mixture of Chinese and Japanese style, in ancient Chinese lore, the East was the source of purity and the West was the outlet of impurities. There was no change in kamkura period in Shinden garden, Buddhist priests Zen has created garden for meditation not for entertainment. The decoration of garden was fully favor the meditative qualities which includes: stones, water and evergreens, remaining constant throughout the year. There are few types of gardens which are given below: Flat gardens Tea gardens Hill gardens FLAT GARDENS: Flat gardens are built without hills and water and flat garden is also known as Hira-niwa, the garden is filled with pebbles, raked in circles , they also contains stones , trees , lanterns and many more. stones are symbols of islands. During the Edo period flat gardens are popular for their height. These types of gardens are also found in Buddhist temples. Modern flat gardens are having wells and lanternsfor the purification of gardens. These gardens are built on wood and have a system for passing water . Stones lanterns are working at night but they are not ornamental. The Western Japanese garden Daichi shown as a flat garden. 2. HILL GARDEN: Hill garden is also known as Tsukiyama-sansui which means water and hill .this garden is constructed on three dimensional shapes. These gardens are constructed on traditional and modern designs. Water is essential for hill gardens, they are made on two large stones for the appearance of distance. They are colourful because of its bushes and trees.Japanese hill gardens are the symbol of islands. These islands are built on stones and rocks and plants grow at its top. The designer has built a bridge on the island so they can worship on these objects. According to the philosophical point of view this garden have the essence of nature. The Katsura garden exhibits some characteristics of a hill garden. 3. TEA GARDEN: Tea garden plays an important role in performing tea ceremony, this ceremony is continuing for many years. Tea garden has two parts : the soto-roji (outer garden) and the uchi-roji, (inner garden). The outer garden consists of waiting area where guests waits, and the inner garden where tea is served to guest. Tea garden is built same as hill garden. The tea garden contains wash basin , resting place for the guests who attends the tea ceremony. The outer portion of garden is decorated with trees and plants which shows the symbol of peace. At present time tea garden contains flowers stones and elegant designs which attracts towards the people. The Japanese tea garden is famous all over the world . The tea house of Shugakuin is the heart of the gardens design.

Essay --

Clarence Mai Mrs. Chaid ERWC 12 February, 2014 Peace Through Strength No matter how oxymoronic it seems, I strongly agree with the phrase â€Å"The only way to prepare for peace is to be prepared for war.†I feel that this relates back to the adage that â€Å"the best defense is a good offense†. For me, I view the Cold War as proof that the weapons of war can also be used as instruments of peace. To start off, one of the key ideas behind the tense, yet somewhat stable peace between the Soviet Union and United States during the second half of the 20th century was the concept of Mutually Assured Destruction, or MAD. As both of the world’s superpowers attempted to outstrip each other in a nuclear arms race, it grew increasingly apparent that should one nation attempt to strike the other or its allies with nuclear weapons, the consequences from the secondary strike would cause an unacceptable loss of life and likely the extinction of the human race. Consider the Cuban Missile Crisis, for instance. There were multiple times where all out nuclear war between the East and the West ca...

Personnel Evaluation Essay -- Human Resource Management

Personnel Evaluation Personnel evaluation systems can vary from state to state or even between state agencies in the same state. The state of North Carolina has one personnel evaluation policy with some listed exceptions in the North Carolina General Statutes. The purpose of this paper is to compare and contrast the personnel evaluation systems for three state agencies, describe four challenges public managers face in the implementation of personnel evaluation systems, analyze, and summarize four factors for executing public personnel evaluation systems. Compare and Contrast Three State Agencies While the North Carolina State Board of Education, UNC Board of Governors, and the North Carolina Department of Administration must comply with North Carolina General Statutes 115 and 126, the statutes allow them discretionary rights as administrators of education, healthcare, and public safety personnel with varying needs, such as certifications and professional development. Additionally, all three agencies have a requirement for supervisors and employees to establish an initial work or action plan with the first month of employment. Additionally, all three agencies require employee notification of appeal rights. Furthermore, each agency requires an initial meeting, a mid-year review, and an annual appraisal. However, for all their similarities they vary in performance assessment components. For example, the North Carolina Department of Administration has a behavioral trait component, require coaching and reinforcement, and handwritten narrative summary. While the North Carolina State Board of Education requires a professional development evaluation, teacher work condition survey, artifact submission, individual growth pl... ... 28(3), 205-221. doi:10.1177/0734371X08319286 Haga, B. I., Richman, R., & Leavitt, W. (2010). System failure: Implementing pay for performance in the department of defense's national security personnel system. Public Personnel Management, 39(3), 211-230. London, M., Mone, E. M., & Scott, J. C. (2004). Performance management and assessment: Methods for improved rater accuracy and employee goal setting. Human Resource Management, 43(4), 319-336. doi:10.1002/hrm.20027 Mothersell, W. M., Moore, M. L., Ford, J. K., & Farrell, J. (2008). Revitalizing human resources management in state government: Moving from transactional to transformational hr professionals in the state of michigan. Public Personnel Management, 37(1), 77-97. Pynes, J. E. (2004). The implementation of workforce and succession planning in the public sector. Public Personnel Management, 33(4), 389-404.

Essay --

Kashif Basaria Ms. Weaver English 2 Honors 7 January, 2014 Preventing Medical Malpractice It is unfortunate to say that medical malpractice is one of the leading causes of death in the United States. Medical malpractice is defined as negligence committed by a medical professional. Malpractice lawsuits have existed in the United States for more than 150 years, most of which were never pursued in court. Medical malpractice is interfering with patients’ rights as well as demanding high costs. However, medical malpractice can be overcome by managing the costs involved, and by regulating, enforcing and advocating patient rights. The most common medical malpractice claims are mainly from missed diagnoses. Their common result was, unfortunately, death, found in fifteen percent and forty eight percent of the cases filed. Most common cases involving missed diagnoses for adults were cancer and heart attacks (Jaslow). Other cases that were common were ectopic pregnancies, appendicitis, and fractures of the bone. Most missed diagnoses involving children were cancers, and meningitis (Jaslow). On account to this, Doctor Richard E. Anderson, chairman and CEO of the physician-operated medical malpractice insurer, The Doctors Company, says, â€Å"nobody benefits but lawyers†¦But the second message is [that] medical care is too expensive, we’re ordering too many tests† (Jaslow). Stated from the quote above, â€Å"too many tests† appear to be unnecessary and unwanted tests. Apart from this, some cases regarded the patient’s lack of attention to their disease or disorder. Not only is it the doctor’s responsibility to look after the patient, but it is also the patient’s responsibility to be attentive and persistent about their health and the health care provide... ... a health problem, incorrect supervision of medication to a patient, faulty or sub-standard performance of a diagnosis, surgery, or any other type of procedure, inadequate use of medical tools and instruments and devices and their lack of maintenance, and negligence towards patient records, test results, or any other kind of documentation (Goguen). Although, the list of problems and causes of medical malpractice seems rather endless and long, it can be cut short. Some ways to prevent and avoid malpractice or medical error is to be aware and involved. A doctor can take note of their patient and their medical history. A patient can be aware of their surroundings and the treatment that they are receiving. A patient’s safety should be a doctor’s primary concern, because it is their responsibility to tend to patients needs and to assist them to a proper nourished life.

Work Roll Consumption

Reduction in Work Roll Consumption of Skin Pass Mill Using six sigma-A case study A Thesis Submitted to the Ranchi University in partial fulfilment of the requirement for the award of the degree Of Master of Science Engg. In PRODUCTION MANAGEMENT By CHANDRA PRAKASH ROLL NO: 20/M/PM/2002 Under the guidance of Mr K. D. P. Singh Lecturer Department of Mechanical Engineering [pic] MECHANICAL ENGINEERING DEPARTMENT NATIONAL INSTITUTE OF TECHNOLOGY, JAMSHEDPUR September -2008 MECHANICAL ENGINEERING DEPARTMENT NATIONAL INSTITUTE OF TECHNOLOGY, JAMSHEDPUR RANCHI UNIVERSITY CANDIDATE’S DECLARATION I here certify that the work which is being presented in this thesis entitled â€Å"Reduction in Work Roll Consumption of Skin Pass Mill using six sigma-A case study† in partial fulfilments for the award of degree of Master of Science Engg. In Production Management, & Submitted in the Department of Mechanical Engineering NIT, JAMSHEDPUR is an authentic record of my own work carried out under the Supervision of Mr K. D. P Singh Lecturer, Department of Mechanical Engineering. National Institute of Technology, Jamshedpur. The matter embodied in this thesis has not been submitted by me for the award of any other degree. Signature of candidate This is to certify that above statement made by the candidate is correct to the best of my knowledge. Mr K. D. P Singh Lecturer Mechanical Engineering Department NIT, Jamshedpur Dr J. N. Yadav Professor & HOD Mechanical Engineering Department Signature of internal examiner Signature of external examiner ACKNOWLEDGEMENT First of all I would like to express my gratitude to Mr. C. M. Verma Head, BAF/SPM/ECL Cold Rolling Mill, Tata Steel for allowing me to be a owner of this case study matching to my area of work where I could really apply and develop my technical skills in practical aspect. I am extremely grateful to Mr K. D. P. Singh (Lecturer NIT, JSR), Mr Vivek (Sr Manager, BAF & Six sigma Co-ordinator CRM), and Mr. Dharmendra Kumar (Manager Roll shop) for guiding this case study. They have guided me at every step, clearly explained the objectives, the problems statements, technical concepts and terminology to make my case study a success. They always extended a helping hand and spent their valuable time to explain the problems that ever obstructed my path. Working in Tata Steel has not only been a learning experience on technical aspects but there were many other things, which could only be experienced in organization of such repute. Their work culture, discipline, employee’s devotion towards their job and company are extraordinary. Thanks a lot to all those who helped me directly or indirectly during the completion of this case study and special thanks to the associates of Skin Pass Mill and Roll Shop of cold rolling mill Tata steel. Chandra Prakash ABSTRACT This case study deals in reducing Work Roll consumption of Skin Pass Mill of cold rolling Mill. Cold Rolling is a Process by which hot rolled strip or stock is introduced between rollers and squeezed or compressed to the desired thickness. The quality of work rolls that come into direct contact with the steel product has a direct effect on product quality and mill operation. At the time of taking up this case study, Roll cost was one of the major operational cost element for Skin pass Mill & due to increase in global Roll prices its contribution increases from 15 % of total conversion cost to 22 % of total conversion cost . In the mean time there were some additional problem associated with work roll grinding & operational practices at Skin pass mill which showing variability in the process of Roll grinding & Skin passing. This case study deals in bringing improvement in the work roll consumption of Skin pass Mill by using Six Sigma techniques (Define-Measure-Analyse-Improve & Control). Statistical methods are used to analyse the data and pin point the vital causes impacting the work roll consumption of Skin Pass Mill. Regression analysis & trial plan conducted during finalizing optimal and feasible solution, as this case study deals in improving standard operating practices & reducing variability within the process of roll grinding & skin passing. CONTENTS PAGE NO ABSTRACT 4 CONTENTS 5 LIST OF FIGURES 8 LIST OF TABLES 10 NOMENCLATURE 11 CHAPTER 1 INTRODUCTION AND LITERATURE SURVEY 1. 1 INTRODUCTION 12 1. 2 BASIC OF COLD ROLLING 15 1. 3 SKIN PASS MILL 16 1. 3. 1 OVERVIEW OF SKIN PASS MILL 18 1. 3. 2 PURPOSE OF SKIN PASSING 19 1. 4 ROLLS & THEIR REQUIREMENTS 25 1. 5 ROLL GRINDING PROCESS 31 1. 6 ROLL TEXTURING PRACTICES 35 . 7 SIX SIGMA APPROACH 41 1. 7. 2 SIX SIGMA IMPLEMENTATION 41 1. 8 PROBLEM DEFINITION 44 1. 9 OBJECTIVE OF CASE STUDY 45 CHAPTER 2: ANALYSIS OF THE PROBLEM PAGE NO 2. 1 INTRODUCTION 46 2. 2 BRAIN STORMING 46 2. 3 PARETO ANALYSIS 47 2. 4 INDIVIDUAL AND MOVING RANGE GRAPH 50 2. 5 MOODS MEDIAN TEST 52 2. 6 CAUSE EFFECT DIAGRAM 57 2. 7 OUTCOME OF ANALYSIS 60 CHAPTER – 3 METHODOLOGY TO ACHIEVE OBJECTIVES 3. 1INTRODUCTION 61 3. 2 PREPERATION OF ACTION PLAN 62 . 3 NORMAL GRINDING TRIALS & ACTION 62 3. 4 CRACK GRINDING TRIALS & ACTIONS 63 3. 5 SKIN PANEL ROLL GRINDING 63 3. 6 OPERATOR VARIABILITY 64 3. 7 ROLL CHANGE DUE TO ROLL ROUGHNESS 64 3. 8 SCH EDULING MODIFICATION 65 3. 9 ROUGHNESS PREDICTION MODEL 66 CHAPTER – 4 RESULTS AND DISCUSSIONS PAGE NO 4. 1 INTRODUCTION 68 4. 2 BEFORE AND AFTER COMPARISSION 68 4. 3 DISCUSSION ON RESULTS 71 4. 4 RESULTS 72 4. 5 CONTROL PLAN 73 . 6 SAVINGSCALCULATION 74 CHAPTER – 5 CONCLUSION & FUTURE SCOPE 75 REFERENCES 76 List of Figures Page No 1. 1 Skin Pass Mill & Tandem Cold Mill Photograph 12 1. 2 Line layout of cold rolling mill 14 1. 3 Skin Pass Mill Tata steel 16 1. 4 Tensile test graph before skin Passing 20 1. 5 Tensile test graph after skin Passing 22 1. 6 Luder band 24 1. 7Correlation between Roughness & peak count28 1. 8 Skewness of Surface28 1. 9 Surface measured at EDT m/c Tata steel 29 2. 0 Waviness Roughness & form of surface30 2. Roll Grinding M/c at Cold Rolling Mill 32 2. 2 EDT Vs Shot Blast Roll 37 2. 3 Effect of time & temp on surface texture38 2. 4 Effect of –ve polarity on surface texture38 2. 5 Roll texturing m/c at Cold rolling mill40 2. 6 Work roll consumption trend at skin pass mill 44 2. 7 Pareto chart for SPM Work roll grinding 49 2. 8 X bar & moving range chart for normal grinding 50 2. 9 Box plot for different operator at Roll Shop 54 List of Figures Page No 3. 0 Capability histogram for normal grinding 55 3. 1 Roll tonnage trend at skin pass Mill 56 . 2 Abnormal roll change trend at skin pass mill 57 3. 3 Cause & effect diagram for roll change due to low Ra 58 3. 4 SPM Work roll consumption trend before case study 68 3. 5 SPM Work roll consumption trend before case study 69 3. 6 Capability histogram before case study 69 3. 7 Capability histogram after case study 70 3. 8 Trend of abnormal roll change at skin pass mill 71 List of Tables Page No 1. 1 Roll roughness detail of tandem & skin pass mill 26 1. 2 Roughness Accuracy detail of texturing m/c 27 1. Selection of peripheral speed 31 1. 4 Standard Stock removal specification 33 1. 5 Grit size for different Roll 34 1. 6 Action on Grinding wheel on various condition 34 1. 7 Structure of grinding based upon requirement 35 1. 8 Grinding data for skin pass mill work roll 49 1. 9 Data capturing sheet51 2. 0 Operator variability matrix52 2. 1 Regression test result53 2. 2 Abnormal Roll Change detail at Skin Pass mill56 2. 3 Prioritization matrix for roll change reasons 57 2. 4 Scheduling Example of skin pass mill59 2. Normal Grinding trials & findings62 2. 6 Crack Grinding trials & findings63 2. 7 Modified Scheduling Example 65 2. 8 list of parameter effecting roughness 66 2. 9 Results of case study 72 3. 0 Control Plan for reducing work roll consumption 73 3. 1 Saving of the case study 74 NOMENCLATURE TCM – Tandem Cold Mill SPM – Skin Pass Mill M/c, m/c – Machine EDT – Electro Discharge Texturing Ra – Average Roughness CRM – Cold Rolling Mill IMR – Individual Moving Range TDC – Technical Delivery Condition ECT – Eddy current testing CRMIS: Cold Rolling Mill Information system PLTCM: Pickling line tandem cold Mill YPE: Yield Point Elongation SPM: Skin Pass Mill BAF: Batch Annealing Furnace ECL: Electrolytic Cleaning line RCL: Recoiling line NSC: Nippon Steel Corporation CRCA: Cold Rolled Closed Annealed CHAPTER 1 INTRODUCTION AND LITERATURE SURVEY 1. INTRODUCTION This chapter gives information about cold rolling mill, Skin Pass mill, Roll grinding, and Roll texturing process . It also describes about six sigma tool & its implementation at the end it describes objective of the case study. Cold Rolling is a Process by which hot rolled strip or stock is introduced between rollers and squeezed or compressed to the desired thickness. Amount of strain introduce determines the properties of the finished product. Following are Purpose of Cold Rolling ? Good formability ? Superior surface finish ? Reasonable strength ? Close dimensional tolerance Fig 1. 1 Tandem Cold Mill Tata steel Skin Pass Mill Tata steel Cold Rolling Mill complex has been commissioned at TATA STEEL works in the year 2000. The total output of the Cold Rolling Mill complex consists of 0. 96 mt of cold rolled and annealed products and 0. 5 mtpa (Million Tonne Per Annum) of cold rolled and galvanized products. Hence, the total installed capacity of this unit is approximately 1. 5 million tons per annum. The range of thickness and width of these cold rolled products are 0. 3 to 3. 2 mm and 800 to1560 mm respectively. The primary input material to the cold rolling complex is a hot rolled coil. The cold rolled products are broadly under the categories: ? Annealed coils ? Galvanized coils ? Cold rolled full hard coils. The cold rolled products from the Cold Rolling Mill complex are designed to cater to various market segments such as construction, general Eng. , automobile, white goods, packaging and others. CRM Process flow at Tata Steel Pickling (to remove oxides and scales) Cold rolling in tandem mill to achieve desired thickness Electrolytic cleaning line to clean the surface dirt. Batch annealing furnace for internal stress relieving Skin passing to remove luder bands, develop mechanical properties, Impart desired surface finish; improve flatness, Inspection, finishing, dispatch Sub Section of Cold Rolling Mill ? Pickling Line &Tandem Cold Mill (PL-TCM) ? Batch Annealing Furnace (BAF) ? Electrolytic cleaning Line (ECL) ? Skin Pass Mill (SPM) ? Galvanising Line ? Recoiling Line (RCL) ? Coil Packaging Line (CPL) pic] Fig 1. 2 Line lay out of Cold Rolling Mill Tata steel 1. 2 Basic of Cold Rolling Mill Following are the basic Processes ? The Hot Strip Mill sends the hot rolled coils (thickness 2 to 6 mm width and 800-1560 mm) to the Cold Rolling Mill Complex for processing. ? First the hot rolled coils are passed through the Pickling section containing Hydrochloric acid, in order to cl ean the surface of rust & scales, making them ready for cold rolling. ? The Trimming Section where the edges of pickled hot rolled coils are trimmed( if necessary) ? The coil is then fed into the main mill, viz. Tandem Cold Mill with five mill stands, each having three pairs of rolls in the five stands which bring down the strip thickness in a controlled manner to the desired target value of (0. 3mm to 3. 2 mm). ? This completes the process of cold rolling or rolling at ambient temperatures. ? From here the two-third of the product goes to Electrolytic cleaning line, where generally two process takes place and they are Predegressing and electrolytic cleaning with the help of NaOH, after this the sheet is washed with high pressure steam to remove the bubbles of NaOH from the surface. Then the coil is dried in the hot drier. ? The coil comes to Batch Annealing furnace directly from Electrolytic cleaning line where they are stacked covered and heated in a closed hood in a 100% hydrogen atmosphere. This process improves the mechanical properties of the strip. ? The Skin Pass Mill takes care of the coils annealed in Batch Annealing furnace by passing them through a single stand high-speed mill with two pairs of rolls. The objective is to impart the correct surface texture and to control the mechanical properties as per customer requirement. The coils are properly oiled for rust protection and recoiled in the Recoiling Lines (RCL 1, 2 & 3) for inspecting the surface. ? The remaining one- third part of the production from PLTCM goes to the Galvanising Lines (1 & 2) where coils are again cleaned, rinsed, dried, L-annealed/heated and taken through a Molten zinc bath for a continuous uniform coating of zinc. This zinc coating helps give a sacrificial layer on the cold rol led strip for corrosion protection. The Continuous packaging line takes care of the packing requirement of the coils as per the customer specifications. 1. 3 Skin Pass Mill [pic] Fig 1. 3 Skin Pass Mill Tata steel front view Skin pass mill: Annealed coils are given a small cold reduction (typically around 1-3 %) in the skin pass mill. This operation results in the right surface roughness imparted on the strip surface as per the customer specifications. In addition, a metallurgical defects known as stretcher strains are eliminated, and also the flatness of the strip is improved. The basic operation done in the cold rolling mill is the wet temper rolling as a cold rolling finishing which is the final process in the integrated steel production, where all materials received from the cold rolling process are processed into the final products with required properties through cleaning, heat treatment and then temper rolling. As this process is closely related to user requirement for mechanical properties, surface properties, size etc. many detailed operation standards are required (annealing surface, size change). This process is quickly adaptable to shape correction reprocessing etc. ut there are many operations which require human hands, as compared with cold rolling. As skin passing is the final process of the integrated steel making operation, the information obtained from this process must be completely fed back to the processes on the down stream side of the steel making furnace. This process is located closest to users and achieving in line quality to meet the user requirements must guaranty the quality. The feed back of information to the preceding processes to be reflected in production is very important. The temper rolling operation falls into three types as shown below: Operation using water-soluble rolling oil Operation using oil-soluble rolling oil Operation in with no rolling oil is used (Dry rolling). Each type of rolling operation has both advantages and disadvantages. The type of rolling operation must be selected in due consideration of the ease of temper rolling, the ease of operation and rust preventive at downstream process at customers end. The surface of roll to be used for temper rolling is mat-finished by shot blasting of steel grit or Elector Discharge Texturing (EDT). This finish is widely as it ensures good paint ability. When the working rolls are ground, the roll surface is bright- finished to about Ra (0. 05 µm) by using a grinding wheel of small grain size. The surface roughness of the strip rolled by bright-finished rolls is below Ra(0. 35 µm), which is suitable for prime coating Generally, the surface finish condition of strip in the temper rolling process is controlled in terms of the surface finished of work rolls only. For confirmation of this condition, the roughness and look of sheet surface after temper rolling is Checked at regular intervals. Temper rolling oil used is mainly applied to thick products, using dull-finished work rolls. The majority of rolling oils used for this rolling are sodium nitrite-based oils. The concentration of sodium nitrite is 5 ( 10% oil-soluble temper rolling oils higher rust preventive power to meet required uses have been developed and put into practical use. 1. 3. 1 OVERVIEW OF SKIN PASS MILL Skin pass an overview ? Single stand mill ? 4- High wet skin pass non-reversible mill ? Capacity: 1mtpa ? Line speed: 900mpm ? Thk range: 0. 3-3. 2 mm ? Width range: 900-1580 mm SPM Equipment ? Main drive-3 ? Mill stand rolls-4 ? Auxiliary roll-8 ? Oiling system ? Fume exhaust system ? Hydraulic gap control system ? Elongation control ? Low pressure hydraulic system ? Quick roll changing car ? Auto tempered car ? Back up rolls polishing ? Unique Features of SPM ? Higher productivity. ? High degree of accuracy- elongation control ? Surface cleanliness- wet skin pass ? Eco fr iendly fume exhaust ? Automatic quick work rolls change & pass line 1. 3. 2 PURPOSE OF SKIN PASSING ? Improvement of mechanical properties of material ? Shape correction Adjustment of surface properties (roughness) ? Apply rust preventive oil (optional) ? Improvement of mechanical properties of material ? Elimination of yield point elongation ? Improvement of formability by decreasing the yield point ? Improvement of other mechanical properties The skin passing of material has to be done with optimum parameters such that the purpose of skin passing is met. Ideally the skin passing has to be done in such a way that alternate grains are strained by which we will get 50% strained surface grains and 50% strain free surface grains. Upper yield point Stress Yield point elongation Lower yield point Strain Fig 1. 4 tensile test graphs before skin passing Yield point elongation is a well-known phenomenon in low carbon steel. After the elastic portion of the stress strain curve (a schematic engineering stress-strain curve is shown in the above figure) the load drops at upper yield point. At lower yield point this drop becomes steady, but a continuous series of fluctuation appears in the stress strain curve. This is commonly known as yield point elongation. After this stage, the curve becomes smooth again. Reason: The reason behind this phenomenon is the alternate locking and unlocking of dislocations by the interstitial atoms (C and N) in steel matrix. C and N atoms form interstitial solid solution and these have natural affinity for locking the dislocations. The locked dislocations cannot move freely, which restricts deformation of the material. The deformation of the material is actually caused by movement and multiplication of dislocations. The deformation stops when the dislocations are not free enough to continue their movements, and further application of load in this situation causes crack generation and failure. After cold rolling and annealing, a low carbon steel strip is supposed to undergo a forming operation. However, this forming becomes difficult if the dislocations are pinned down by the interstitial solute atoms. The annealing treatment provides ample opportunity for the dislocations to move freely and sit at the thermodynamically favourable sites, where the solute atoms pin the dislocations and kill their mobility. This is commonly known as Cottrell atmosphere. Now, if the material is subjected to a tensile load, the stress strain curve will show a serration, i. . alternate load drop and load jump, just after the yield point. Load drop indicates that the dislocations are pulled off from the solute atmosphere, coupled with generation of fresh dislocations under the external force, and load jump indicates that the momentarily free dislocations are again encountering with the solute atoms. This actually constitutes the stage of yield point elongation. Due to the pinning effect of the s olute atoms, the dislocation multiplication sources also become active, which generates fresh dislocations. After this stage, when sufficient fresh dislocations are available for continuing deformation, the stress-strain curve becomes smooth again. This yield point elongation (YPE) is absolutely detrimental as far as the formability of the material is concerned. It creates Luder bands or stretcher strain marks, which finally leads to failure of the component. These bands are visible on the strip surface. When a test specimen exhibits YPE during its tensile testing, these bands appear on the specimen surface, starting from middle (where necking starts) and spreading towards the ends, at an angle of approximately 450 to the tensile axis. YPE elongation continues till the entire specimen surface is covered by the Luder band formation, then smooth plastic deformation starts. Here comes the role of skin passing. Since YPE, after batch annealing, cannot be avoided, a skin depth deformation is given to the just annealed steel strip. This skin depth deformation actually overcomes this region of the stress-strain curve. Sufficient number of dislocations is pulled off from the solute (C, N) atmosphere, at the same time fresh dislocations are generated, which is sufficient for facilitating the forming operation at the next stage. If the material, in skin passed (or temper rolled) condition, is subjected to tensile testing, the stress strain curve will not show any YPE and the plastic deformation will take place without a sharp yield point, as shown in the figure below. That is what precisely desired for drawing or deep drawing grade material. If this skin passed material is left unused for a sufficiently long time, or subjected to a brief heat treatment at a low temperature, the YPE reappears once again. The YS value also goes up and ductility of the material drops. This phenomenon is known as strain aging. UTS YS Stress Strain Fig 1. tensile test graphs after skin passing From the discussion made so far, it is clear that the locking of dislocations are related to the two important factors, one is movement of dislocations, the other is movement of interstitial solute atoms. Therefore diffusion has a very important role to play. If the testing is carried out at room temperature, the mobility of dislocations un der the action of external load is more than the mobility of solute atoms. If the similar test is carried out at a higher temperature, the mobility of the solute atoms increases, and movements of dislocation and solute atoms may be comparable. Such a situation would give rise to an interesting phenomenon called dynamic strain aging, where the solute atoms keep on interacting with the dislocations and the entire stress strain curve (after elastic limit) shows serration. Since YPE is directly related to the concentrations of C and N atoms in steel, the extent of deformation (known as temper elongation) to be given at skin pass mill (SPM), which is a critical factor, varies with steel composition. The magnitude of temper elongation should be high for higher C content. For instance, the temper elongation in case of CQ material should be higher than that in case of EDD grade. If the temper elongation is less than the required amount, the material will show stretcher strain marks during forming. If temper elongation is higher than the required amount, the strength of the material will increase. This is not desirable, particularly for the softer grades like IF and EDD, because the strain hardening exponent value is higher for these grades, compared to that for ordinary CQ material. Theoretically speaking, IF or interstitial free deep drawing grade steel should not require any skin passing. The reason is that the C and N concentrations are kept very low in this grade (of the order of 30 ppm). In addition, presence of Ti in this steel promotes the fixing of C and N atoms in form of carbide and carbonitiride precipitates, thereby creating a condition so that the Fe matrix becomes virtually free of interstitial solute atoms. Such a condition favours the easy movement of dislocations without any hindrance, and this steel has been established as the highest formable grade, with maximum deep drawability and ductility. In practice, IF grade steel is subjected to skin passing with a small magnitude of elongation, and, of all grades, it requires minimum temper elongation. The skin pass depends on Yield strength of the material in the following way: Lower the skin pass (roughly less than 0. 6 %), the material will have the tendency to show Bauschinger’s effect. Higher the skin passing (above 1. 5%) the material will be over strained. That’s the reason why the skin passing for a given YS, has to be done with the optimum reduction such that the material does not get into either of the problems stated above. Also percentage reduction increases with increasing YS to get the optimum properties. Parameters on which Skin pass Load depends: Grain Size: Higher the ASTM grain size number (finer the grain), higher is the skin pass load. Speed: Increasing the speed of skin pass mill will require higher load for the same reduction Diameter of work roll: Larger the diameter of the work rolls, higher is the roll force required to remove stretcher strain. Roughness of the strip from Tandem Cold Mill: The incoming coil has got some roughness values because of the final finishing in stand number (5) of tandem Cold Mill. Many times to high roughness of the incoming strip to Skin Pass Mill and the requirement of Average roughness values on the surface in the ranger of 0. -1. 2 microns for most applications, the peaks are knocked off during skin passing which is detrimental from forming and image clarity point of view. The best practice for this should be keeping as low roughness as possible on the strip surface after tandem cold mill (of course sticker formation during annealing in Batch annealing furnace has to be kept in mind), a nd imparting higher roughness on the work rolls in the skin pass mill. 1. 3. 3 THEORY OF SKIN PASSING When the annealed mild steel sheet is preformed, surface markings, called stretcher strains markings, appear on deformed parts. Stretcher strains are also called as Luder bands. The formation of these markings can be prevented by Skin passing the sheet by giving the sheet elongation of 1-2 % before Performing. LUDER BAND OR STRECHER STRAIN This band is formed with an angle of about 45 deg – 50 deg with respect to the tensile axis the markings formed between Upper and lower are called as â€Å"Luder Lines† or â€Å"Stretcher Strains† as shown in fig 1. 6 Tensile load Luder band Tensile load Fig 1. 6 Luder band 1. 4 Rolls & their requirement for Cold Rolling The performance characteristics of rolls used in cold rolling mill, both in Tandem Cold Mill(TCM) and Skin Pass Mill, are critical to mill productivity and to the quality and acceptance of the cold rolled products. With the rapid change in roll technology, roll management in cold rolling has become an area of utmost importance. The increasing requirements of critical surface finish and texture of flat rolled product has necessitated application of the state of art technology in roll preparation and roll inspection. Rolls also represent a significant investment and input to a value analysis of cost per ton rolled. The quality of work rolls that come into direct contact with the steel product has a direct effect on product quality and mill operation. A forged steel with a chromium content of 5 mass% has been conventionally used to meet the requirement of metallurgical structure homogeneity and high hardness for work rolls in cold rolling. Rolls having improved performance are strongly demanded. 1. 4. 1 Requirement from textured Rolls: 1. 4. 1. 1 Surface finish: Surface roughness is imparted to Work Rolls which are used in 5th stand of Tandem cold mill and to the work rolls of Skin Pass Mill. The primary requirement of surface roughness for tandem mill rolls is to prevent stickers in the next process i. e. batch annealing. The surface roughness on Skin pass mill is guided by the requirement of surface roughness on Cold rolled strip which is based on its end use. Ra is the universally recognized and most used international parameter of roughness. It is the arithmetic mean of the departures of the profile from the mean line. Ra = 1/L {y (x)}dx For a typical application of auto grade the Ra value in strip ranges from 0. 8 to 1. 2 micron. The final roughness on SPM roll is decided based on the transfer ratio of roughness from roll to strip (ranges from 45-60% based on mill parameters). A typical transfer plot and the values of roughness is shown in table 1. 1 Table 1. 1 Roll Roughness detail of Tandem cold mill & skin pass mill Work Roll |Tandem Cold MILL Work Rolls |Skin Pass Mill Work Rolls | |Average roughness |PPC |Average roughness |PPC | |3. |75 |3 |120 | |4. 0 |70 |3. 0 |96, 118 | |4. 5 |65 |3. 5 |80 | |5. 0 |60 |4. 0 |70 | The distribution of surface roughness over the roll body is also of importance to ensure consistency of surface roughness over the strip widths produced in a campaign. The ROLLTEX Electro discharge texturing process of Sarclad machine produces a texture to the capability as mentioned in table 1. 2. Roughness Definition: Roughness is defined as the finer irregularities of the surface texture that usually result from the inherent action of some production process such as machining or wear. Roughness features are typically in the sub micron range. Continuously recurring, irregular depressions and elevations on the surface of the coil are known as roughness. Rough coil surface is usually caused by severe roll groove wears surface roughness can also be caused due to corrosion if the rod is stored for lengthy periods in damp or corrosive atmospheres. The degree of roughness can be determined by microscopic examination or with Ra meter. Surface roughness has two main attributes: Roughness height or depth, and Lateral dimension. Roughness heights of the structure on polishing or machining surface are frequently measured as a root mean square roughness. The units of roughness are angstroms or nanometres for smoothers surface ‘lim' and micrometers â€Å" µm† for rougher surface. Lateral dimensions frequently and called surface spatial wave lengths are measured in micrometers. A rough surface is usually described in terms of its deviation from a smooth reference surface. Some conventional methods for surface measurement are optical microscope, scanning electron microscope and transmission electron microscope. These can be used to produce topographic maps of surfaces. Today laser scattering technique has become more common. Ra value: Average/mean height of surface peaks and troughs over a reference length indicates an overall profile of the sheet surface, dullness or brightness. Roughness is imparted to the rolls by Electro discharge texturing method Table 1. 2 Roughness accuracy detail of texturing m/c |Sno |Range of roughness value |Accuracy of surface produced (Ra) |Accuracy of surface produced (PPC-peaks per | | | | |centimetre) | |1 |0. to 6. 0 micron Ra |+/- 4 % of mean Ra |+/- 4 % of mean PPC | |2 |6. 1 to 10. 0 micron Ra |+/- 5 % of mean Ra |+/- 5 % of mean PPC | |3 |>10. 1 micron Ra |+/- 6 % of mean Ra |+/- 6 % of mean PPC | 1. 4. 1. 2 Peak Count: It is the measurement of number of peaks in the specified length over a particular bandwidth (normally 1 micron). A profile peak is the highest part of the profile between an upwards and downwards crossing of the mean line. The exposed auto body panels typically require 100 ppi on the Cold rolled sheet. The transfer ratio of peak counts from roll to the strip ranges between 60-70%, based on again the rolling conditions. Figure 1. 7 shows the correlation between the roughness of the surface & the peak counts. Fig 1. 7 Correlation between roughness & peak counts Stability of the surface profile: The textured roll is required to give a consistent transfer of roughness and peak count on the strip while rolling. During rolling the surface experiences wear of the peaks and the roll is Fig 1. 8 Skewness of surface discarded after a certain tonnage, determined based on the cut-off point of surface requirement on the strip. To assess this requirement of surface stability, metrology experts and certain European instrument manufacturers have devised surface texture height parameters, which can be analysed by a Data Processing Module (DPM), supplied separately by the surface finish tester manufacturers. Out of various parameters used in this analysis, the most commonly used is Rsk (Skewness) and tp % (known as bearing ratio). Rsk is the measure of the symmetry of the amplitude distribution curve about the mean line. As shown in figure 1. 8 if Rsk is negative the surface peaks are higher, which is prone to a large drop in surface finish during the initial rolling. Based on the practical experience of cold rollers over the world, a slight positive value is preferred. A typical surface plot after texturing a surface to roughness value of 2. 93 micron in Sarclad EDT machine and measured by DPM is shown in Figure 1. 9 Fig 1. 9 Surface measurements done on Tata EDT-Skin Pass Mill roll. The Bearing ratio (tp%) is a measure of the length of bearing surface (expressed as a % of the assessment length), where the profile peaks have been cut off at a line which runs parallel to the mean line of the profile. The line defining the bearing surface can be set at a selected depth below the highest peak or at a selected distance above or below the mean line of the profile. When this line is set to the depth of the largest profile valley, the tp is 100% because the entire profile is above the bearing line. By plotting the tp value against depth below the highest profile peak between the 0% and 100 % limits, the bearing ratio (known as Abott- Firestone curve) curve is obtained. Figure 1. 9 shows the bearing ratio curve against a particular value of Rsk. 1. 4. 1. 3Waviness: Most surface profile results from the combined effects of roughness, waviness and form as shown in figure 2 Waviness parameters are produced by passing the data of the surface measurement through a low pass filter, so that longer wavelengths than the cut-off are included. The waviness, Wa is calculated from the resulting profile. Fig 2 Waviness, Roughness and Form of a surface Wavelengths in the roughness category < 800 micron are covered or filtered out by painting, in the end application of the CR strip. Wavelengths >800 micron defined as â€Å"Waviness† remain or are enhanced after painting and contribute to poor Distinctness of image or image clarity. If Wa is held below 0. 6 micron, irrespective of the Ra, then those wavelengths >800 micron have only a marginally adverse effect on Distinctness of image. Samples of sheet produced by tandem/ temper mill rolls textured by the Rolltex EDT process consistently show levels of Wa