EXPERIMENTAL DEMONSTRATION OF LIGHT TRAPPING AND INTERNAL LIGHT SCATTERING IN SOLAR CELLS

Renewable energy technologies have long-term economic and environmental advantages over fossil fuels, and solar power is the most abundant renewable resource, supplying 120 PW over earth’s surface. In recent years the cost of photovoltaic modules has reached grid parity in many areas of the world, including much of the USA. A combination of economic and environmental factors has encouraged the adoption of solar technology and led to an annual growth rate in photovoltaic capacity of 76% in the US between 2010 and 2014. Despite the enormous growth of the solar energy industry, commercial unit efficiencies are still far below their theoretical limits. A push for thinner cells may reduce device cost and could potentially increase device performance. Fabricating thinner cells reduces bulk recombination, but at the cost of absorbing less light. This tradeoff generally benefits thinner devices due to reduced recombination. The effect continues up to a maximum efficiency where the benefit of reduced recombination is overwhelmed by the suppressed absorption. Light trapping allows the solar cell to circumvent this limitation and realize further performance gains (as well as continue cost reduction) from decreasing the device thickness. This thesis presents several advances in experimental characterization, theoretical modeling, and device applications for light trapping in thin-film solar cells. We begin by introducing light trapping strategies and discuss theoretical limits of light trapping in solar cells. This is followed by an overview of the equipment developed for light trapping characterization. Next we discuss our recent work measuring internal light scattering and a new model of scattering to predict the effects of dielectric nanoparticle back scatterers on thin-film device absorption. The new model is extended and generalized to arbitrary stacks of stratified media containing scattering structures. Finally, we investigate an application of these techniques using polymer dispersed liquid crystals to produce switchable solar windows. We show that these devices have the potential for self-powering.

VISION OF EQUINOX FOR ORCHESTRA

The artistic play of light seen on a pyramid in some Mayan ruins located in Cancun, Mexico provided the inspiration for Vision of Equinox. On both the spring and autumn equinox days, the sunlight projected on the pyramid forms a shape which looks like a serpent moving on the stairway of the pyramid. Vision of Equinox was composed with an image of light as the model for the artistic transfiguration of sound. The light image of sound changes its shape in each stage of the piece, using the orchestra in different ways - sometimes like a chamber ensemble, sometimes like one big instrument. The image of light casting on a pyramid is expressed by descending melodic lines that can be heard several times in the piece. At the final climax of the work, a complete and embodied artistic figure is formed and stated, expressing the appearance of the Mayan god Quetzalcoatl, the serpent, in my own imagination. The light and shadow which comprise this pyramid art are treated as two contrasting elements in my composition and become the two main motives in this piece. To express these two contrasting elements, I picked the numbers "5" and "2," and used them as "key numbers" in this piece. As a result, the intervals of a fifth and a second (sometimes inverted as a seventh) are the two main intervals used in the structure. The interval of a fifth was taken into account for the construction of the pyramid, which has five points of contact. The interval of a second was selected as a contrasting sonority to the fifth. Further, the numbers "5" and "2" are used as the number of notes which form the main motives in this piece; quintuplets are used throughout this piece, and the short motive made by two sixteenth notes is used as one of the main motives in this piece. Moreover, the shape of the pyramid provided a concept of symmetry, which is expressed by the setting of a central point of the music (pitch center) as well as the use of retrograde and inversion in this piece.