E-comparisons: A new approach to round robin tests for environmental noise assessment in transport infrastructures

The increasing importance of pollutant noise has led to the creation of many new noise testing laboratories in recent years. For this reason and due to the legal implications that noise reporting may have, it is necessary to create procedures intended to guarantee the quality of the testing and its results. For instance, the ISO/IEC standard 17025:2005 specifies general requirements for the competence of testing laboratories. In this standard, interlaboratory comparisons are one of the main measures that must be applied to guarantee the quality of laboratories when applying specific methodologies for testing. In the specific case of environmental noise, round robin tests are usually difficult to design, as it is difficult to find scenarios that can be available and controlled while the participants carry out the measurements. Monitoring and controlling the factors that can influence the measurements (source emissions, propagation, background noise…) is not usually affordable, so the most extended solution is to create very effortless scenarios, where most of the factors that can have an influence on the results are excluded (sampling, processing of results, background noise, source detection…) The new approach described in this paper only requires the organizer to make actual measurements (or prepare virtual ones). Applying and interpreting a common reference document (standard, regulation…), the participants must analyze these input data independently to provide the results, which will be compared among the participants. The measurement costs are severely reduced for the participants, there is no need to monitor the scenario conditions, and almost any relevant factor can be included in this methodology

SOPHIA CPV module round robin: power rating at CSOC

Within the European funded project SOPHIA, a Round Robin measurement on CPV module has been initiated. Seven different test laboratories located in Europe between 48°N and 37°N perform measurements of four SOITEC CPV modules. The modules are electrically characterized with different measurement equipment under various climatic conditions. One pyrheliometer and one spectral sensor based on component cells are shipped together with the modules. This ensures that the irradiance and spectrum, two factors with high impact on CPV module performance, are measured with the identical equipment at each site. The round robin activity is performed in closeco-operation with the IEC TC82 WG7 power rating team in order to support the work on the CPV module power rating draft standard 62670-3. The resultingrated module power outputs at CSOC (Concentrator Standard Operating Conditions) are compared amongst the power rating methods and amongst the test labs. In this manner, a deviation in rated power output between different test labs and power rating methods is determined.

SOPHIA CPV module round robin: power rating at CSOC

In the frame of the European project SOPHIA a concentrator photovoltaic (CPV) module measurement round robin has been initiated. The round robin includes measurements of four CPV modules at seven different test laboratories located in Europe. IV curves of the modules are measured with different measurement equipment under various climatic conditions. The aim of this activity is to perform at each site a rating of the modules at concentrator standard operating conditions CSOC according to IEC 62670-1. The outcome of the round robin is intended for direct feedback to the current draft standard IEC 62670-3 “Concentrator Photovoltaic (CPV) Performance Testing - Performance Measurements and Power Rating”. The paper discusses initial results from the first three partners that have already finished the measurements up to now.

La paradoja de Mies : las simetrías invisibles a través del Pabellón de Barcelona

El vínculo de Mies van der Rohe con la simetría es un invariante que se intuye en toda su obra más allá de su pretendida invisibilidad. Partiendo del proyecto moderno como proceso paradójico, que Mies lo expresa en sus conocidos aforismos, como el célebre “menos es más”, la tesis pretende ser una aproximación a este concepto clave de la arquitectura a través de una de sus obras más importantes: el Pabellón Alemán para la Exposición Universal de 1.929 en Barcelona. Ejemplo de planta asimétrica según Bruno Zevi y un “auténtico caballo de Troya cargado de simetrías” como lo definió Robin Evans. El Pabellón representó para la modernidad, la culminación de una década que cambió radicalmente la visión de la arquitectura hasta ese momento, gracias al carácter inclusivo de lo paradójico y las innumerables conexiones que hubo entre distintas disciplinas, tan antagónicas, como el arte y la ciencia. De esta última, se propone una definición ampliada de la simetría como principio de equivalencia entre elementos desde la invariancia. En esta definición se incorpora el sentido recogido por Lederman como “expresión de igualdad”, así como el planteado por Hermann Weyl en su libro Simetría como “invariancia de una configuración bajo un grupo de automorfismos” (libro que Mies tenía en su biblioteca privada). Precisamente para Weyl, el espacio vacío tiene un alto grado de simetría. “Cada punto es igual que los otros, y en ninguno hay diferencias intrínsecas entre las diversas direcciones." A partir de este nuevo significado, la obra de Mies adquiere otro sentido encaminado a la materialización de ese espacio, que él pretendía que “reflejase” el espíritu de la época y cuya génesis se postula en el Teorema de Noether que establece que “por cada simetría continua de las leyes físicas ha de existir una ley de conservación”. Estas simetrías continúas son las simetrías invisibles del espacio vacío que se desvelan “aparentemente” como oposición a las estructuras de orden de las simetrías de la materia, de lo lleno, pero que participan de la misma lógica aporética miesiana, de considerarlo otro material, y que se definen como: (i)limitado, (in)grávido, (in)acabado e (in)material. Finalmente, una paradoja más: El “espacio universal” que buscó Mies, no lo encontró en América sino en este pabellón. Como bien lo han intuido arquitectos contemporáneos como Kazuyo Sejima + Ryue Nishizawa (SANAA) legítimos herederos del maestro alemán. ABSTRACT The relationship between Mies van der Rohe with the symmetry is an invariant which is intuited in his entire work beyond his intentional invisibility. Based on the modern project as a paradoxical process, which Mies expresses in his aphorisms know as the famous “less is more”, the thesis is intended to approach this key concept in architecture through one of his most important works: The German Pavilion for the World Expo in 1929 in Barcelona, an example of asymmetric floor according to Bruno Zevi and a “real Trojan horse loaded with symmetries”. As defined by Robin Evans. For modernity, this Pavilion represented the culmination of a decade which radically changed the vision of architecture so far, thanks to the inclusive character of the paradoxical and the innumerable connections that there were amongst the different disciplines, as antagonistic as Art and Science. Of the latter, an expanded definition of symmetry is proposed as the principle of equivalence between elements from the invariance. Incorporated into this definition is the sense defined by Leterman as “expression of equality,” like the one proposed by Hermann Weyl in his book Symmetry as “configuration invariance under a group of automorphisms” (a book which Mies had in his private library). Precisely for Weyl, the empty space has a high degree of symmetry. “Each point is equal to the other, and in none are there intrinsic differences among the diverse directions.” Based on this new meaning, Mies’ work acquires another meaning approaching the materialization of that space, which he intended to “reflect” the spirit of the time and whose genesis is postulated in the Noether’s theorem which establishes that “for every continuous symmetry of physical laws, there must be a law of conservation.” These continuous symmetries are the invisible empty space symmetries which reveal themselves “apparently” as opposition to the structures of matter symmetries, of those which are full, but which participate in the same Mies aporetic logic, if deemed other material, and which is defined as (un)limited, weight(less), (un)finished and (im)material. Finally, one more paradox: the “universal space” which Mies search for, he did not find it in America, but at this pavilion, just as the contemporary architects like Kazuyo Sejima + Ryue Nishizawa (SANAA) rightfully intuited, as legitimate heirs of the German master.