本科毕业论文-C字夹螺孔的加工工艺设计.doc

目目 录录 第一章 概述1 1.1 C 字夹及加工转台概述 1 1.2 加工转台的国内外现状 2 1.2.1 国内加工转台的技术状况.2 1.2.2 国外加工转台的技术现状.3 1.3 本次设计主要内容 4 第二章 设计方案论证 .1 2.1 各种方案简述1 2.1.1 方案一.1 2.1.2 方案二.1 2.1.3 方案三 2 2.2 各种方案比较 3 2.3 本章小结 3 第三章 设计中的有关计算 1 3.1 电动机的选择1 3.2 传动装置总传动比的计算及其分配 2 3.3 蜗杆传动系统的设计与校核 2 3.3.1 选择蜗杆传动类型.2 3.3.2 选择材料.2 3.3.3 按齿面接触疲劳强度进行设计.2 3.3.4 蜗杆与蜗轮的主要参数与几何尺寸.4 3.3.5 校核齿根弯曲疲劳强度.5 3.3.6 验算效率.6 3.4 锥齿轮传动设计及校核6 3.4.1 选锥齿轮类型、精度等级、材料及齿数.6 3.4.2 按齿面接触疲劳强度设计.7 3.4.3 按齿根弯曲疲劳强度设计.8 3.5 轴的设计及强度校核计算 .11 3.5.1 蜗轮传动轴 .11 3.5.2 锥齿轮传动轴 13 3.7 总装配图 .15 3.8 本章小结 .17 结论18 参考文献1 致谢2 摘摘 要要 C 字夹是木工等常用的工具。C 字夹螺孔的加工是主要工艺内容，其加工的好坏直接影响夹紧 螺杆在夹紧和松开时正常运动。在 C 字夹的制作过程中，C 字夹螺孔的加工作为主要工艺内容， 一般均在两台不同的钻床上进行加工，要装、卸两次。而且一次只能加工一个孔。这样，不仅影 响加工精度，而且加工效率低，劳动强度也大。于是，就需要设计多主轴钻床，同时需要设计多 工位孔加工的工装设备。而转台式多工位钻、攻自动设备的设计中，多工位准停式转台和钻、攻 夹具的设计为主要内容。 本文首先概述了加工转台的基本定义与国内外一些重要生产商的成果。第二部分论述了所想 到的三种方案并对这些方案优缺点作了分析和对比。在彼此比较后决定选第一种方案。第三部分 则是说明了加工转台的主要机械传动部分的设计以及对它们的校核过程。加工转台的传动部分主 要由蜗轮蜗杆、锥齿轮、主轴三部分组成。经过校核后所有设计均符合要求。用 ProE 软件完成转 台的三维总装图，然后得到了整个转台的二维装配图和蜗轮蜗杆、锥齿轮、轴等二维零件图。在 文章的最后简明的介绍了做本次毕业设计的一些心得体会。 关键词关键词 加工转台；蜗轮蜗杆；锥齿轮；滚珠丝杆；ProE ABSTRACT C word clip is carpenter etc commonly used tools. C word processing is the screw holes with the main technology content, its processing of a direct impact on the clamping screw in the clamping and loosen the normal movement when. In the C word clip of the production process, the C word clamp screw holes as the main content of the processing technology, in general are two sets of different drilling on the processing, pack, discharge twice. And one can only processing a hole. So, not only affect machining precision and the processing efficiency is low, the intensity of labor is also big. So, need to design more spindle drilling machine, also need to design of progressive hole processing fixtures equipment. And turned in the desktop of progressive drilling, tapping the design of the automatic equipment, progressive must stop type turntable and drilling, tapping fixture design as the main content. This paper summarizes the basic definition and processing turntable for domestic and foreign some important producers results. The second part of the paper is that the thought of three solutions to these solutions and analyzes and compares their advantages and disadvantages. In each other after comparing decided to choose the first plan. The third part is that the processing of the main mechanical transmission part turntable for the design and process of checking on them. The main transmission parts processing turntable by the worm, bevel gear, spindle of three parts. After checking all the requirements are designed. Drawing using ProE software table 3 d assembly drawing, then by the whole table 2 d assembly drawing and worm gear and worm, bevel gear and shafts two- dimensional drawing. At the end of the article simply introduces the graduation design do some of the comments. Keywords: Worm Gear ； 12 12 12 28,112 coscos VV ZZ ZZ 由查文献2查得：齿形系数=2.55 =2.17； 1Fa Y 2Fa Y 由查文献2查得：齿形系数=1.60 =1.8； 1Sa Y 2Sa Y ； 11 1 2.57 1.60 0.008945 457.96 FaSa F YY ； 22 2 2.176 1.798 0.0081073 481.79 FaSa F YY 小锥齿轮的数值大。 （2）设计计算 将数据代入 3-9 得 = 1 3 222 1 4 (1 0.5)1 FaSa F RR Y YkT m Zu 3 222 4 1.782 77963 0.0089593.912 11 (1 0.5)2521 33 对此计算结果可知：齿面接触疲劳强度计算模数 m 小于齿根弯曲疲劳强度的 模数，取 m=4.0mm,已满足弯曲强度，但为了同时满足接触疲劳强度，= 1 d ； 1 4.0 25100mzmm 2 d 2 4.0 50200mzmm 图 3-4 为小锥齿轮的三维示意图，图 3-5 为大锥齿轮的三维示意图。 10 图 3-4 小锥齿轮三维示意图 图 3-5 大锥齿轮的三维示意图 11 3.5 轴的设计及强度校核计算轴的设计及强度校核计算 3.5.1 蜗轮传动轴 图 3-6 蜗轮传动轴的结构示意图 轴的直径由联轴器内径、涡轮内径、轴承内径等决定。如图 3-6 传动轴的结构示 意图。 1 计算受力 此传动轴中间部分与涡轮相连接， 。按许 1 44.84minnr 1 0.3685Pkw 用弯曲应力计算法校核。 转矩 66 2 2 2 0.3685 9.55 109.55 1078483 44.84 P TN mm n A 圆周力 2 2 2 22 78483 1012 155 t T FN d 轴向力 1 21 1 22 3667 1467 50 at T FFN d 径向力 22 2 tansin370 1013 1083 cos()coscos(20) 0.995 rtnn t n n FFFaN F FN a 2 计算支承受力 水平面反力 2 12 1012 506 22 T NHNH F FFN 12 垂直面反力 2 1 113693370 97 771 194 771 370401 NV NV FN FN 3 计算弯矩 水平面最大弯矩 98164 H MN mmA 垂直面最大弯矩 149583 V MN mmA 合成弯矩最大值 225 1.79 10 HV MMMN mmA 4 计算轴的转矩 轴受转矩 2 78483TTN mmA 5 校核轴的强度 针对某些危险截面（即弯矩和扭矩大而轴径可能不足的截面）做弯扭合 成强度校核计算。按第三强度理论，计算应力 22 22 4 ()4() 2 ca MT WW W=4288 3 mm0.6 22 522 4 (1.79 10 )(0.6 78483) 4288 43.16 ca MPa 因选此输出轴材料为 45 钢，调质处理，由查文献2查得 1 60MPa ，因 此 1ca ，故安全。该轴的三维示意图如图 3-7。 13 图 3-7 蜗轮传动轴三维示意图 3.5.2 锥齿轮传动轴 图 3-8 锥齿轮传动轴的结构示意图 轴的直径由联轴器内径、锥齿轮内径、轴承内径等决定。如图 3-8 传动轴的 结构示意图。 1.力的计算 此传动轴左侧部分与小锥齿轮相连接，按许用弯扭应力计算法校 1 n44.84minr 核。 转矩 32 78483TTN mmA 圆周力 2 1 1 22 78483 1570 100 t T FN d 轴向力 111 tan20 sin256 at FFN 径向力 111 tan20 cos510 rt FFN 14 2.计算支承受力 水平面反力 1 2 1570 125 3634 54 3634 15702064 NH NH FN FN 垂直面反力 1 2 256 50510 125 944 54 944510434 NV NV FN FN 3.计算弯矩 水平面最大弯矩 258014 H MN mmA 垂直面最大弯矩 54224 V MN mmA 合成弯矩最大值 225 2.6 10 HV MMMN mmA 4.计算轴的转矩 轴受转矩 2 78483TTN mmA 5.校核轴的强度 针对某些危险截面（即弯矩和扭矩大而轴径可能不足的截面）做弯扭合成 强度校核计算。按第三强度理论，计算应力 22 22 4 ()4() 2 ca MT WW W=4288 3 mm0.6 22 522 4 (2.6 10 )(0.6 78483) 4288 61.6 ca MPa 因选此输出轴材料为 40Cr 钢，调质处理，由查文献2查得 1 70MPa ，因此 1ca ，故安全。该轴的三维示意图如图 3-9。 15 图 3-9 锥齿轮传动轴三维示意图 3.7 总装配图总装配图 在上面计算与校核中，按照要求分别设计出了蜗轮蜗杆传动系统、直齿锥 齿轮传动系统。现在将他们按照相互关系组装成为装配体。传动路线为：电动机 产生动力后输出到蜗杆传动系统，然后由直齿锥齿轮带动主轴转台转动。其示意 图如图 3-12 所示。其蜗杆传动系统装配图如图 3-13 所示。 16 图 3-12 转台总装配图 图 3-13 蜗杆传动系统装配图 17 3.8 本章小结本章小结 本转台设计部分主要有涡轮蜗杆传动系统、直齿锥齿轮传动系统、丝杠传动 系统等三部分组成。传动系统受力、弯矩、转矩要发生变形，变形过大就会影响 零件的正常工作，影响转台的最终测试结果。所以要对它们进行强度、刚度校核， 通过校核，所使用的传动系统均符合要求。 18 结论结论 C 字夹是木工等常用的工具。C 字夹螺孔的加工是主要工艺内容，其加工的 好坏直接影响夹紧螺杆在夹紧和松开时正常运动。在 C 字夹的制作过程中，C 字 夹螺孔的加工作为主要工艺内容，一般均在两台不同的钻床上进行加工，要装、 卸两次。而且一次只能加工一个孔。这样，不仅影响加工精度，而且加工效率低， 劳动强度也大。于是，就需要设计多主轴钻床，同时需要设计多工位孔加工的工 装设备。而转台式多工位钻、攻自动设备的设计中，多工位准停式转台和钻、攻 夹具的设计为主要内容。 本文首先概述了加工转台的基本定义与国内外一些重要生产商的成果。第二 部分论述了所想到的三种方案并对这些方案优缺点作了分析和对比。在彼此比较 后决定选第一种方案。第三部分则是说明了加工转台的主要机械传动部分的设计 以及对它们的校核过程。加工转台的传动部分主要由蜗轮蜗杆、锥齿轮、主轴三 部分组成。经过校核后所有设计均符合要求。用 ProE 软件完成转台的三维总装 图，然后得到了整个转台的二维装配图和蜗轮蜗杆、锥齿轮、轴等二维零件图。 在文章的最后简明的介绍了做本次毕业设计的一些心得体会。 在这次设计中，查阅了关于转台的一些书刊资料，对转台有了基本的认识。 在这种情况下，结合所查阅到的资料，设计出了三种方案，并对这三种方案进行 了相互比较，最后选定了第一种方案。方案选定后，随之对转台的传动系统做了 设计与校核。这些传动系统有涡轮蜗杆传动系统、直齿锥齿轮传动系统。在一系 列的力、弯矩、转矩计算与校核后，确定所有零件的结构设计均符合要求。在设 计与校核过程中，电动机的选择要综合考虑转台所输出力、输出速度，然后以此 倒退求知电机功率及其外形尺寸。在选择具体传动比时，要选择各种传动机构合 理范围之内的值。蜗轮蜗杆的设计时，除了要计算齿受力情况外，还要校核蜗杆 的弯曲强度。由于丝杠的转速很低，故采用了锥齿轮传动。 毕业设计是对四年中所学知识的一次综合性的考察，它可以比较全面的检查 我们的专业知识水平，及时让我们发现缺点和不足。在毕业设计中，我回顾了四 年所学的知识充分认识到了自己的欠缺，学会了运用手册和查阅相关书籍资料， 19 学会了用标准来规范自己。毕业设计和毕业论文是本科生培养方案的重要环节。 所谓“温故而知新”，只有对已学过的知识真正掌握了，才能吸收新的知识。而新 的知识反过来则可以进一步促进对已学知识有新的理解。 1 参考文献参考文献 1.吴宗泽、罗圣国，机械设计课程设计手册（第三版） ， 北京 高等教育出版社， 2006.5 4170 2.濮良贵、纪名刚等，机械设计（第八版） ，北京 高等教育出版社，2006.6 186272 3.成大先等，机械设计手册（第四版）北京 化学工业出版社，2001.11 210351 4.机械设计常用标准，机械原理及零件教研室，北京 机械工业出版社，1999.6 502553 5.现代机械传动手册编辑委员会，现代机械传动手册（第二版） ，北京 机 械工业出版社，2002.5 145167 6.廖希亮等，计算机绘图与三维造型，北京 机械工业出版社，2002.9 23345 7.杨黎明、黄凯、李恩至、陈实现，机械零件设计手册，北京 国防工业出版社， 1987.6，225287 8.孙桓，机械原理， 北京 高等教育出版社，2006.5 174201 9.傅衣铭、熊慧而等，材料力学，长沙 湖南大学出版社，2007.1 209219 10.廖念钊、莫雨松等，互换性与技术测量(第四版)，北京 中国计量出版社， 2006.7 1117 11.朱孝录等，机械传动设计手册，北京 电子工业出版社，2007.7 120357 12.宋波，杨乐民等，脆性加工转台机械传动机构设计，机械工程师，2008.4 13.李晓杰，CSS-2200 系列电子万能转台，试验技术与转台，1996 年，卷 36, 36 2 致谢致谢 本次设计是在尊敬的 XX 老师的悉心指导和严格要求下完成的，导师渊博的 知识、严谨的治学态度、高度的责任心以及严于律己、待人诚恳的思想品德深深 的影响着我，这不仅使我顺利完成了此项设计，而且也将成为使我受益终生的宝 贵财富。几个月的时间里，从课题的选定、资料的收集、方案的拟定、课题的具 体设计到论文的审定改进，XX 都给与了极大的帮助，倾注了大量的心血。通过 这次的毕业设计，学生不仅开拓了思路、扩大了视野、丰富了知识面，还初步掌 握了处理具体实践问题的科学方法，为学生今后发展打下了坚实的基础。 从课题的选择到完成，XX 老师都始终给予我耐心细致的指导和不懈的支持 和督促，在此谨向 XX 老师致以诚挚的谢意和崇高的敬意。 在完成论文的过程中，还得到了机械工程学院 XX 等多位老师的建议和指导， 同时也得到了一些同学的的热情帮助和鼓励，对此，表示深深的感谢和衷心的祝 福。 译文与原文 3 您好，为你提供优秀的毕业论文参考资料，请您删除以下内容，您好，为你提供优秀的毕业论文参考资料，请您删除以下内容，O(_)O 谢谢！谢谢！A large group of tea merchants on camels and horses from Northwest Chinas Shaanxi province pass through a stop on the ancient Silk Road, Gansus Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilometers and take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined the troupe in 1975.He says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. “I can still recall the days when I toured with the troupe in the early 80s. We sat on the back of pickup trucks for hours. The sky was blue, and we couldnt help but sing the folk songs,“ Nasun says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. “The nomadic people were very excited about our visits,“ Nasun recalls. “We didnt have a formal stage. The audience just sat on the grass. Usually, the performances became a big party with local people joining in.“ For him, the rewarding part about touring isnt just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as “red burgeon“, and todays performers of the troupe still tour the regions villages and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijings Poly Theater. Their show, titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. “Being from the region allowed me to embrace the culture of Inner Mongolia and being a member of the troupe showed me where I belonged,“ Nasun, the art troupes president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a solider from Shenyang, capital of Northeast Chinas Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year, Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a 25-year-old khoomei (a local variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones that he writesall while playing the horse-head fiddle.“Although I learned the piano since childhood and grew up listening to various kinds of music, to me, the folk music of Inner Mongolia is the root,“ he says. “Performing in remote villages is pleasant. I feel at home on the boundless grasslands, and the warm people there make me feel fulfilled.“ The first round of spring auction season in Beijing ended last week, but it failed to create much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in trading volume and sale rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous representative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5 million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the year before. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section number went down to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock market and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to their own value not due to a revival in the market. “The successful transaction of two works with a hammer price of more than 100 million yuan once again confirms that valuable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the pillar of the market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president of China Guardians Hu Yanyan. “Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a word, the overall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market has walked out of the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pursuit of some special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal with total sales volume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was sold for 5.06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions also set a special session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull thud of disappointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese fans were fed tidbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan is, of course, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Two years ago, it was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North America after some modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. This version, highly anticipated as a milestone in Chinas cultural foray overseas, has been widely panned by its home audience. Retitled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing threw off many native viewers, who are accustomed to a more leisurely daytime-soap-style narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficult to follow. Whats lost, I believe, are the interesting setups and pauses that illuminate the Chinese art of 译文与原文 4 storytelling. Much of the plot is still there. It is the flavor that was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting at whats to come and recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. They were obviously designed to appeal to an English-speaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It is fairly competent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the commonalities. But whether inside or outside China, the temptation to sell it for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has becomehow shall I put it?a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English trailer, is totally fictitious, has departed from China but not yet landed on American shores. I am a big fan of Ralph Waldo Emersons essay titled Self-Reliance. If youve not yet read it, I strongly encourage you to do so. In this essay, the venerable Emerson talks about eschewing the trappings of society and finding ones own path. He urges the reader to find rectitude and lead a moral life. He professes that, only by being self reliant, as opposed to relying on the government and being dictated to by society, can one begin leading a decent and purposeful life. He avers that such a life is the only life worth living. I agre