Full Ebook of Process Control Modeling Design and Simulation 2Nd Edition B Wayne Bequette Online PDF All Chapter
Full Ebook of Process Control Modeling Design and Simulation 2Nd Edition B Wayne Bequette Online PDF All Chapter
Full Ebook of Process Control Modeling Design and Simulation 2Nd Edition B Wayne Bequette Online PDF All Chapter
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Modeling and Simulation in Engineering, 2nd Edition
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Process Control: Modeling,
Design, and Simulation
B. Wayne Bequette
Pearson
Contents
Preface
About the Author
Chapter 1: Introduction
Chapter 2: Fundamental Models
Chapter 3: Dynamic Behavior
Chapter 4: Dynamic Behavior: Complex Systems
Chapter 5: Empirical and Discrete-Time Models
Chapter 6: Introduction to Feedback Control
Chapter 7: Model-Based Control
Chapter 8: PID Controller Tuning
Chapter 9: Frequency-Response Analysis
Chapter 10: Cascade and Feedforward Control
Chapter 11: PID Enhancements
Chapter 12: Ratio, Selective, and Split-Range Control
Chapter 13: Control-Loop Interaction
Chapter 14: Multivariable Control
Chapter 15: Plantwide Control
Chapter 16: Model Predictive Control
Chapter 17: Summary
Module 8. CSTR
Module 9. Steam Drum Level
Module 10. Surge Vessel Level Control
1.1 Introduction
Process engineers are often responsible for the operation of chemical
processes. As these processes become larger in scale and/or more
complex, the role of process automation becomes increasingly
important. The primary objective of this textbook is to teach process
engineers how to design and tune controllers for the automated
operation of chemical processes.
A conceptual process block diagram for a chemical process is shown in
Figure 1–1. Notice that inputs are classified as either manipulated or
disturbance, and the outputs are classified as measured or unmeasured
in Figure 1–1a. To automate the operation of a process, it is important
to use measurements of process outputs or disturbance inputs to make
decisions about the proper values of manipulated inputs. This is the
purpose of the controller shown in Figure 1–1b; the measurement and
control signals are shown as dashed lines. These initial concepts
probably seem very vague or abstract at this point. Do not worry,
because we present a number of examples in this chapter to clarify
these ideas.
The development of a control strategy consists of formulating or
identifying the following:
1. Control objective(s)
2. Input variables
3. Output variables
4. Constraints
5. Operating characteristics
6. Safety, environmental, and economic considerations
7. Control structure
We discuss in more detail the steps in formulating a control problem:
1. The first step of developing a control strategy is to formulate the
control objective(s). A chemical-process operating unit often
consists of several unit operations. The control of an operating unit
is generally reduced to considering the control of each unit
operation separately. Even so, each unit operation may have
multiple, sometimes conflicting objectives, so the development of
control objectives is not a trivial problem.
Feedback Control
The measured variable for a feedback control strategy is the tank
height. Which input variable is manipulated depends on what is
happening in process 1 and process 2. Let us consider two different
scenarios. In scenario 1, process 2 regulates the flow rate F2, leaving F1
to be manipulated by a controller. In scenario 2, process 1 regulates the
flow rate F1, leaving F2 to be manipulated by a controller. Here we
further discuss scenario 2; scenario 1 is used as a student exercise
(exercise 5).
Scenario 2 Process 1 regulates flow rate F1. This could happen, for
example, if process 1 is producing a chemical compound that must be
processed by process 2. Perhaps process 1 is set to produce F1 at a
certain rate. F1 is then considered “wild” (a disturbance) by the tank
process. In this case, we would adjust F2 to maintain the tank height.
Notice that the control valve should be specified as fail-open or air-to-
close so that the tank will not overflow on loss of instrument air or
other valve failure.
The control and instrumentation diagram for a feedback control
strategy for this scenario is shown in Figure 1–4a. Notice that the level
transmitter (LT) sends the measured height of liquid in the tank (hm) to
the level controller (LC). The LC compares the measured level with the
desired level (hsp, the height setpoint) and sends a pressure signal (Pv)
to the valve. This valve op pressure moves the valve stem up and
down, changing the flow rate through the valve (F2). If the controller is
designed properly, the flow rate changes to bring the tank height close
to the desired setpoint. In this process and instrumentation diagram,
we use dashed lines to indicate signals between different pieces of
instrumentation.
Feedforward Control
The previous feedback control strategy was based on measuring the
output (tank height) and manipulating an input (the outlet flow rate).
In this case, the manipulated variable is changed after a disturbance
affects the output. The advantage of a feedforward control strategy is
that a disturbance variable is measured and a manipulated variable is
changed before the output is affected. Consider the preceding case
where the inlet flow rate can be changed by the upstream process unit
and is therefore considered a disturbance variable. If we can measure
the inlet flow rate, we can manipulate the outlet flow rate to maintain a
constant tank height. This feedforward control strategy is shown in
Figure 1–5a, where FM is the flow measurement device and FFC is the
feedforward controller. The corresponding control block diagram is
shown in Figure 1–5b. F1 is a disturbance input that directly affects the
tank height; the value of F1 is measured by the FM device, and the
information is used by an FFC to change the manipulated input, F2.
Figure 1–5 Instrumentation and control block diagrams for the
tank level feedforward control problem. The inlet flow rate is
measured and outlet flow rate is manipulated.
1.2 Instrumentation
The example level-control problem had three critical pieces of
instrumentation: a sensor (measurement device), actuator
(manipulated input device), and controller. The sensor measured the
tank level, the actuator changed the flow rate, and the controller
determined, on the basis of the sensor signal, how much to vary the
actuator.
There are many common sensors used for chemical processes. These
include temperature, level, pressure, flow, composition, and pH. The
most common manipulated input is the valve actuator signal (usually
pneumatic).
Each device in a control loop must supply or receive a signal from
another device. When these signals are continuous, such as electrical
current or voltage, we use the term analog. If the signals are
communicated at discrete intervals of time, we use the term digital.
Analog
Analog or continuous signals provide the foundation for control theory
and design and analysis. A common measurement device might supply
either a 4- to 20-mA or 0- to 5-V signal as a function of time. Pneumatic
analog controllers (developed primarily in the 1930s, but used in some
plants today) use instrument air, as well as a bellows-and-springs
arrangement, to “calculate” a controller output based on an input from
a measurement device (typically supplied as a 3- to 15-psig pneumatic
signal). The controller output of 3 to 15 psig is sent to an actuator,
typically a control valve where the pneumatic signal moves the valve
stem. For large valves, the 3- to 15-psig signal might be amplified to
supply enough pressure to move the valve stem.
Electronic analog controllers typically receive a 4- to 20-mA or 0- to 5-V
signal from a measurement device and use an electronic circuit to
determine the controller output, which is usually a 4- to 20-mA or 0- to
5-V signal. Again, the controller output is often sent to a control valve
that may require a 3- to 15-psig signal for valve stem actuation. In this
case, the 4- to 20-mA current signal is converted to the 3- to 15-psig
signal using an I/P (current-to-pneumatic) converter.
Digital
Most devices and controllers are now based on digital communication
technology. A sensor may send a digital signal to a controller, which
then does a discrete computation and sends a digital output to the
actuator. Very often, the actuator is a valve, so there is usually a D/I
(digital-to-electronic analog) converter involved. If the valve stem is
moved by a pneumatic rather than electronic actuator, then an I/P
converter may also be used.
Digital control-system design techniques explicitly account for the
discrete (rather than continuous) nature of the control computations. If
small sample times are used, the tuning and performance of the digital
controllers is nearly equal to that of analog controllers, as shown in
Chapter 7, “Model-Based Control.”
Wireless
The cost to run wiring between sensors, controllers, and actuators can
be substantial. For noncritical applications, particularly for monitoring
and infrequent actions, it can be desirable to use wireless systems. This
has been done in household systems for years, with remote operation
of garage doors and, more recently, lighting systems. A biomedical
application that is studied several times in this text is automated insulin
delivery for people with type 1 diabetes. Bluetooth is used to send
signals from a glucose sensor to smart-phone or other control device
and to an insulin pump. Similar methods are likely to be used on select
chemical processes in the future.
Notice the implicit assumption that the density of fluid in the vessel
does not depend on position (the perfect mixing assumption). This
assumption allows an ordinary differential equation (ODE) formulation.
We refer to any system that can be modeled by ODEs as lumped
parameter systems. Also notice that the outlet stream density was
assumed to be equal to the density of fluid in the tank. Assuming that
the density of the inlet stream and fluid in the vessel are equal, this
equation is then reduced to1
1
It might be tempting to begin to directly write a “volume balance”
expression, which looks similar to Equation (1.3). We wish to make it
clear that there is no such thing as a volume balance, and Equation
(1.3) is only correct because of the constant density assumption. It is a
good idea to always write a mass balance expression, such as Equation
(1.2), before making assumptions about the fluid density, which may
lead to Equation (1.3).
If, for example, the initial volume is 500 liters, the inlet flow rate is 5
liters/second and the outlet flow rate is 4.5 liters/second, we find
V(t) = 500 + 0.5 · t
Example 1.3 provides an introduction to the notion of states, inputs,
and parameters. Consider now the notion of an output. We may
consider fluid volume to be a desired output that we wish to control, for
example. In that case, volume would not only be a state, it would also
be considered an output. On the other hand, we may be concerned
about fluid height rather than volume. Volume and height are related
through the constant cross- sectional area, A:
or
where fluid height is now the state variable. It should also be noted
that inputs can be classified as either manipulated inputs (that we may
regulate with a control valve, for example) or disturbance inputs. If we
wanted to measure fluid height and manipulate the flow rate of stream
1, for example, then F1 would be a manipulated input, while F2 would
be a disturbance input.
We have found that a single process can have different modeling
equations and variables, depending on assumptions and the objectives
used when developing the model.
The liquid level process is an example of an integrating process. If the
process is initially at steady state, the inlet and outlet flow rates are
equal (see Equation 1.3 or 1.7). If the inlet flow rate is suddenly
increased while the outlet flow rate remains constant, the liquid level
(volume) will increase until the vessel overflows. Similarly, if the outlet
flow rate is increased while the inlet flow rate remains constant, the
tank level will decrease until the vessel is empty.
In this book, we first develop process models based on fundamental or
first- principles analysis, that is, models that are based on known
physical-chemical relationships, such as material and energy balances,
as well as reaction kinetics, transport phenomena, and thermodynamic
relationships. We then develop empirical models. An empirical model is
usually developed on the basis of applying input changes to a process
and observing the response of measured outputs. Model parameters
are adjusted so that the model outputs match the observed process
outputs. This technique is particularly useful for developing models that
can be used for controller design.
1.8 Summary
You should now be able to formulate a control problem in terms of the
following:
• Control objective
• Inputs (manipulated or disturbance)
• Outputs (measured
• or unmeasured)
• Constraints (hard or soft)
• Operating characteristics (continuous, batch, semibatch)
• Safety, environmental, and economic issues
• Control structure (feedback, feedforward)
You should also be able to sketch control and instrumentation diagrams
and control block diagrams. In addition, you should be able to
recommend whether a control valve should be fail-open or fail-closed.
The following terms were introduced in this chapter:
• Actuator
• Air-to-close
• Air-to-open
• Algorithm
• Control block diagram
• Control valve
• Controller
• Digital
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the rabble, as he runs by the monarch’s side, has wit enough to think
—‘There goes my royal self!’ From the most absolute despot to the
lowest slave there is but one step (no, not one) in point of real merit.
As far as truth or reason is concerned, they might change situations
to-morrow—nay, they constantly do so without the smallest loss or
benefit to mankind! Tyranny, in a word, is a farce got up for the
entertainment of poor human nature; and it might pass very well, if
it did not so often turn into a tragedy.
We once heard a celebrated and elegant historian and a hearty
Whig declare, he liked a king like George III. better than such a one as
Buonaparte; because, in the former case, there was nothing to
overawe the imagination but birth and situation; whereas he could
not so easily brook the double superiority of the other, mental as well
as adventitious. So does the spirit of independence and the levelling
pride of intellect join in with the servile rage of the vulgar! This is the
advantage which an hereditary has over an elective monarchy: for
there is no end of the dispute about precedence while merit is
supposed to determine it, each man laying claim to this in his own
person; so that there is no other way to set aside all controversy and
heart-burnings, but by precluding moral and intellectual
qualifications altogether, and referring the choice to accident, and
giving the preference to a nonentity. ‘A good king,’ says Swift, ‘should
be, in all other respects, a mere cypher.’
It has been remarked, as a peculiarity in modern criticism, that the
courtly and loyal make a point of crying up Mr. Young, as an actor,
and equally running down Mr. Kean; and it has been conjectured in
consequence that Mr. Kean was a radical. Truly, he is not a radical
politician; but what is as bad, he is a radical actor. He savours too
much of the reality. He is not a mock-tragedian, an automaton player
—he is something besides his paraphernalia. He has ‘that within
which passes shew.’ There is not a particle of affinity between him
and the patrons of the court-writers. Mr. Young, on the contrary, is
the very thing—all assumption and strut and measured pomp, full of
self-importance, void of truth and nature, the mask of the characters
he takes, a pasteboard figure, a stiff piece of wax-work. He fills the
throne of tragedy, not like an upstart or usurper, but as a matter of
course, decked out in his plumes of feathers, and robes of state, stuck
into a posture, and repeating certain words by rote. Mr. Kean has a
heart in his bosom, beating with human passion (a thing for the great
‘to fear, not to delight in!’) he is a living man, and not an artificial
one. How should those, who look to the surface, and never probe
deeper, endure him? He is the antithesis of a court-actor. It is the
object there to suppress and varnish over the feelings, not to give way
to them. His overt manner must shock them, and be thought a
breach of all decorum. They are in dread of his fiery humours, of
coming near his Voltaic Battery—they chuse rather to be roused
gently from their self-complacent apathy by the application of
Metallic Tractors. They dare not trust their delicate nerves within the
estuary of the passions, but would slumber out their torpid existence
in a calm, a Dead Sea—the air of which extinguishes life and motion!
Would it not be hard upon a little girl, who is busy in dressing up a
favourite doll, to pull it in pieces before her face in order to shew her
the bits of wood, the wool, and rags it is composed of? So it would be
hard upon that great baby, the world, to take any of its idols to
pieces, and shew that they are nothing but painted wood. Neither of
them would thank you, but would consider the offer as an insult. The
little girl knows as well as you do that her doll is a cheat; but she shut
her eyes to it, for she finds her account in keeping up the deception.
Her doll is her pretty little self. In its glazed eyes, its cherry cheeks,
its flaxen locks, its finery and its baby-house, she has a fairy vision of
her own future charms, her future triumphs, a thousand hearts led
captive, and an establishment for life. Harmless illusion! that can
create something out of nothing, can make that which is good for
nothing in itself so fine in appearance, and clothe a shapeless piece of
deal-board with the attributes of a divinity! But the great world has
been doing little else but playing at make-believe all its lifetime. For
several thousand years its chief rage was to paint larger pieces of
wood and smear them with gore and call them Gods and offer
victims to them—slaughtered hecatombs, the fat of goats and oxen,
or human sacrifices—shewing in this its love of shew, of cruelty, and
imposture; and woe to him who should ‘peep through the blanket of
the dark to cry, Hold, hold.’—Great is Diana of the Ephesians, was
the answer in all ages. It was in vain to represent to them, ‘Your Gods
have eyes but they see not, ears but they hear not, neither do they
understand’—the more stupid, brutish, helpless, and contemptible
they were, the more furious, bigotted, and implacable were their
votaries in their behalf.[43] The more absurd the fiction, the louder
was the noise made to hide it—the more mischievous its tendency,
the more did it excite all the phrenzy of the passions. Superstition
nursed, with peculiar zeal, her ricketty, deformed, and preposterous
offspring. She passed by the nobler races of animals even, to pay
divine honours to the odious and unclean—she took toads and
serpents, cats, rats, dogs, crocodiles, goats and monkeys, and hugged
them to her bosom, and dandled them into deities, and set up altars
to them, and drenched the earth with tears and blood in their
defence; and those who did not believe in them were cursed, and
were forbidden the use of bread, of fire, and water, and to worship
them was piety, and their images were held sacred, and their race
became Gods in perpetuity and by divine right. To touch them, was
sacrilege: to kill them, death, even in your own defence. If they stung
you, you must die: if they infested the land with their numbers and
their pollutions, there was no remedy. The nuisance was intolerable,
impassive, immortal. Fear, religious horror, disgust, hatred,
heightened the flame of bigotry and intolerance. There was nothing
so odious or contemptible but it found a sanctuary in the more
odious and contemptible perversity of human nature. The barbarous
Gods of antiquity reigned in contempt of their worshippers!
This game was carried on through all the first ages of the world,
and is still kept up in many parts of it; and it is impossible to
describe the wars, massacres, horrors, miseries and crimes, to which
it gave colour, sanctity, and sway. The idea of a God, beneficent and
just, the invisible maker of all things, was abhorrent to their gross,
material notions. No, they must have Gods of their own making, that
they could see and handle, that they knew to be nothing in
themselves but senseless images, and these they daubed over with
the gaudy emblems of their own pride and passions, and these they
lauded to the skies, and grew fierce, obscene, frantic before them, as
the representatives of their sordid ignorance and barbaric vices.
Truth, Good, were idle names to them, without a meaning. They
must have a lie, a palpable, pernicious lie, to pamper their crude,
unhallowed conceptions with, and to exercise the untameable
fierceness of their wills. The Jews were the only people of antiquity
who were withheld from running headlong into this abomination; yet
so strong was the propensity in them (from inherent frailty as well as
neighbouring example) that it could only be curbed and kept back by
the hands of Omnipotence.[44] At length, reason prevailed over
imagination so far, that these brute idols and their altars were
overturned; it was thought too much to set up stocks and stones,
Golden Calves and Brazen Serpents, as bonâ-fide Gods and
Goddesses, which men were to fall down and worship at their peril—
and Pope long after summed up the merits of the whole mythologic
tribe in a handsome distich—
‘Gods partial, changeful, passionate, unjust,
Whose attributes were rage, revenge, or lust.’
(A Fragment.)
The Liberal.]
[1822.
that is to say, the floor of Mr. Blackwood’s shop! There is one other
publication, a match for this in flagrant impudence and dauntless
dulness, which is the John Bull. The Editor is supposed, for the
honour of Scotland, to be an Irishman. What the Beacon might have
proved, there is no saying; but it would have been curious to have
seen some articles of Sir Walter’s undoubted hand proceeding from
this quarter, as it has been always contended that Blackwood’s
Edinburgh Magazine was too low and scurrilous a publication for
him to have any share in it. The adventure of the Beacon has perhaps
discovered to Sir Walter’s admirers and the friends of humanity in
general, that
‘Entire affection scorneth nicer hands!’
Old Dr. Burney, about the middle of the last century, called one
morning on Thomson, the Author of The Seasons, at a late hour, and
on expressing his surprise at the poet’s not having risen sooner,
received for answer,—‘I had no motive, young man!’ A Scotchman
acts always from a motive, and on due consideration; and if he does
not act right or with a view to honest ends, is more dangerous than
any one else. Others may plead the vices of their blood in extenuation
of their errors; but a Scotchman is a machine, and should be
constructed on sound moral, and philosophical principles, or should
be put a stop to altogether.
MY FIRST ACQUAINTANCE WITH POETS
The Liberal.]
[1823.