Review, Modelling and Simulation of Two-Mode Hybrid Vehicle Architecture

2007 ◽  
Author(s):  
Jeffrey D. Wishart ◽  
Yuliang Zhou ◽  
Zuomin Dong
Keyword(s):  
New York ◽  
Fuel Economy ◽  
Hybrid Vehicle ◽  
Hybrid Design ◽  
Comparable Performance ◽  
Speed Performance ◽  
Vehicle Technology ◽  
Improved Performance ◽  
The One ◽  
Toyota Prius

Hybrid vehicle technology is beginning to make a significant mark in the automotive industry, most notably by the Toyota Prius THS-II and its one-mode technology, but also by two-mode architectures recently introduced. GM-Allison, Renault, and the Timken Company have attempted to capitalize on the advantages over simpler series and parallel architectures that the series-parallel configuration confers on the Prius while also improving the design by allowing the powertrain configuration to physically shift and operate in two different modes depending on the driving load. This work provides an overview of the state-of-the-art in two-mode hybrid vehicle architectures, and demonstrates the performance of this technology in comparison to the market-leading Toyota Prius one-mode hybrid vehicle technology and conventional ICE technology. Simulations in the NREL ADVISOR® software compare the performances of the one- and two-mode architectures against a parallel-full design and the ICE baseline for four different drive cycles and a vehicle with varying weight that simulates a commercial vehicle application. A configuration that is a variation of those designed by GM-Allison was chosen as the representative of the two-mode architectures. The performance metric was fuel economy. The fuel economy was measured over the course of the drive cycles: (1) Urban Dynamometer Driving Schedule for Heavy Duty Vehicles (UDDSHDV); (2) New York City Truck (NYCT); (3) City-Suburban Heavy Vehicle Route (CSHVR); and (4) Highway Fuel Economy Test (HWFET). The vehicle model uses a module developed in-house for a Kenworth T400 truck with a payload that varies from empty to completely full. The results demonstrate that the two-mode architecture provides significantly improved performance to that of the conventional non-hybrid design and comparable performance to that of the parallel-full hybrid design. Furthermore, the one-mode design is shown to be sub-optimal for this vehicle type. Development and optimization of the control strategy, which is the direction of the current research, should allow for additional improvement in fuel economy; optimization of vehicular components could result in improvements in acceleration ability, gradeability, and top speed performance, which lags behind the performance capabilities of the conventional powertrain vehicle in these metrics. The study confirms that two-mode architecture presents unique advantages for constantly changing driving cycles and vehicle payloads and represents the future of hybrid vehicle technology.

Biotower Pilot Study Results for a Photographic and Specialty Paper Manufacturer

1992 ◽  
Vol 26 (9-11) ◽  
pp. 2109-2112
Author(s):  
J. G. Cleary ◽  
T. J. Boehm ◽  
R. J. Geary
Keyword(s):  
New York ◽  
Pilot Study ◽  
New York State ◽  
Cross Flow ◽  
Full Scale ◽  
Treatment System ◽  
Salmon River ◽  
Study Results ◽  
Comparable Performance ◽  
Pollutant Discharge

Schoeller Technical Papers, Inc. (Schoeller), which manufactures photographic and other specialty papers, is located in Pulaski, New York. The wastewater treatment system consists of a primary clarifier and two settling lagoons. Secondary treatment using a biotower was proposed to meet the new New York State Pollutant Discharge Elimination System (SPDES) discharge limits for BOD and TSS. The effluent from each basin is discharged directly to the Salmon River, at an approximate average flow of 1.6 million gallons/day (mgd). A biotower pilot study was performed to evaluate the suitability of a biotower treatment process for treating the total effluent from Schoeller's facility. The pilot study was used to select the media for the full-scale biotower and to confirm the design loading for the full-scale biotower, which proceeded in parallel with the pilot study due to the schedule constraints. Two pilot systems were operated to compare a conventional cross-flow and vertical media. Test data were collected to evaluate the performance of each pilot treatment system at a range of loading conditions and to develop the design loading information for the full-scale plant. The pilot units were operated for a period of 10 months. BOD concentrations to the pilot units averaged 58 mg/l with a peak of 210 mg/l. Approximately 80% of the BOD was soluble. BOD loadings averaged 21 lb BOD/day/1,000 cubic feet with a peak of 77 lb BOD/day/1,000 cubic feet. Both pilot units achieved excellent BOD removals exceeding 75%, with average effluent soluble BOD concentration less than 10 mg/l and average effluent TSS concentrations of 12 mg/l. The two media achieved comparable performance throughout most of the pilot study.

Over de betekenis van het werk van Jan van Scorel omstreeks 1530 voor oudere en jongere tijdgenoten (4)

1984 ◽  
Vol 98 (2) ◽  
pp. 98-109 ◽  
Author(s):  
J. Bruyn
Keyword(s):  
New York ◽  
18Th Century ◽  
The Other ◽  
Parish Church ◽  
Stylistic Development ◽  
To Come ◽  
The One ◽  
The Town ◽  
Coats Of Arms ◽  
Early Training

AbstractFrom 1911 to 1961 Félix Chrétien, secretary to François de Dinteville II, Bishop of Auxerre in Burgundy, and from 1542 onwards a canon in that town, was thought to be the author of three remarkable paintings. Two of these were mentioned by an 18th-century local historian as passing for his work: a tripych dated 1535 on the central panel with scenes from the legend of St. Eugenia, which is now in the parish church at Varzy (Figs. 1-3, cf. Note 10), and a panel dated 1550 with the Martyrdom of St. Stephen in the ambulatory of Auxerre Cathedral. To these was added a third work, a panel dated 1537 with Moses and Aaron before Pharaoh, which is now in New York (Figs. 4-5, cf. Notes I and 3). All three works contain a portrait of François de Dinteville, who is accompanied in the Varzy triptych and the New York panel (where he figures as Aaron) by other portrait figures. In the last-named picture these include his brothers) one of whom , Jean de Dinteville, is well-known as the man who commissioned Holbein's Ambassadors in 1533. Both the Holbein and Moses and Aaron remained in the family's possession until 1787. In order to account for the striking affinity between the style of this artist and that of Netherlandish Renaissance painters, Jan van Scorel in particular, Anthony Blunt posited a common debt to Italy, assuming that the painter accompanied François de Dinteville on a mission to Rome in 1531-3 (Note 4). Charles Sterling) on the other hand, thought of Netherlandish influence on him (Note 5). In 1961 Jacques Thuillier not only stressed the Northern features in the artist's style, especially in his portraits and landscape, but also deciphered Dutch words in the text on a tablet depicted in the Varzy triptych (Fig. I) . He concluded that the artist was a Northerner himself and could not possibly have been identical with Félix Chrétien (Note 7). Thuillier's conclusion is borne out by the occurrence of two coats of arms on the church depicted in the Varzy triptych (Fig. 2), one of which is that of a Guild of St. Luke, the other that of the town of Haarlem. The artist obviously wanted it to be known that he was a master in the Haarlem guild. Unfortunately, the Haarlem guild archives provide no definite clue as to his identity. He may conceivably have been Bartholomeus Pons, a painter from Haarlem, who appears to have visited Rome and departed again before 22 June 15 18, when the Cardinal of S. Maria in Aracoeli addressed a letter of indulgence to him (without calling him a master) care of a master at 'Tornis'-possibly Tournus in Burgundy (Note 11). The name of Bartholomeus Pons is further to be found in a list of masters in the Haarlem guild (which starts in 1502, but gives no further dates, Note 12), while one Bartholomeus received a commission for painting two altarpiece wings and a predella for Egmond Abbey in 1523 - 4 (Note 13). An identification of the so-called Félix Chrétien with Batholomeus Pons must remain hypothetical, though there are a number of correspondences between the reconstructed career of the one and the fragmentary biography of the other. The painter's work seems to betray an early training in a somewhat old-fashioned Haarlem workshop, presumably around 1510. He appears to have known Raphael's work in its classical phase of about 1515 - 6 and to have been influenced mainly by the style of the cartoons for the Sistine tapestries (although later he obviously also knew the Master of the Die's engravings of the story of Psyche of about 1532, cf .Note 8). His stylistic development would seem to parallel that of Jan van Scorel, who was mainly influenced by the slightly later Raphael of the Loggie. This may explain the absence of any direct borrowings from Scorel' work. It would also mean that a more or less Renaissance style of painting was already being practised in Haarlem before Scorel's arrival there in 1527. Thuillier added to the artist's oeuvre a panel dated 1537 in Frankfurt- with the intriguing scene of wine barrels being lowered into a cellar - which seems almost too sophisticated to be attributed to the same hand as the works in Varzy and New York, although it does appear to come from the same workshop (Fig. 6, Note 21). A portrait of a man, now in the Louvre, was identified in 197 1 as a fragment of a work by the so-called Félix Chrétien himself (Fig. 8, Note 22). The Martyrdom of St. Stephen of 1550 was rejected by Thuillier because of its barren composition and coarse execution. Yet it seems to have too much in common with the other works to be totally separated, from them and may be taken as evidence that the workshop was still active at Auxerre in 1550.

scholarly journals STUDIES ON THE ETIOLOGY OF RABBIT POX

1936 ◽  
Vol 63 (3) ◽  
pp. 353-378 ◽  
Author(s):  
Ch'uan-K'uei Hu ◽  
Paul D. Rosahn ◽  
Louise Pearce
Keyword(s):  
New York ◽  
Clinical Manifestations ◽  
Vaccine Virus ◽  
Intradermal Injection ◽  
Skin Area ◽  
Cutaneous Lesions ◽  
Active Growth ◽  
Specific Relationship ◽  
Close Relationship ◽  
The One

Experiments are reported in which it was shown that rabbits which had recovered from experimental or spontaneous rabbit pox were refractory to inoculation of pox virus injected by various routes, and in addition did not develop clinical manifestations of the disease under conditions of exposure to florid cases of pox. It was found that pox recovered rabbits were susceptible to inoculation with the virus of virus III disease of rabbits and that virus III recovered rabbits could be successfully inoculated with pox virus. Furthermore, virus III recovered rabbits developed pox when subjected to room exposure in the same manner as did normal rabbits. It thus appears that there is no specific relationship between the two viruses. Rabbits which had recovered from experimental or spontaneous pox were found to be just as susceptible to inoculation with the virus of infectious myxoma of rabbits as were normal rabbits, a result which demonstrates that there is no specific relationship between these viruses. Rabbits which had recovered from experimental or spontaneous pox were refractory to inoculation with culture dermovaccine virus, but vaccine recovered rabbits were not completely refractory to inoculation with pox virus. Under conditions of exposure to clinical cases of pox, adult vaccine immune rabbits did not develop clinical manifestations of pox, but young, recently weaned vaccinated rabbits did contract mild but definite clinical pox. Experimental pox recovered rabbits were partially refractory to inoculation with neurovaccine virus and neurovaccine recovered rabbits were partially refractory to inoculation with pox virus. The refractory condition of the pox immune rabbits appeared to be more pronounced than that of the neurovaccine immunes. The cutaneous lesions which developed from the intradermal injection of pox, neurovaccine, and culture vaccine viruses showed definite differences with respect to the rate and persistence of active growth, amount of edema, hemorrhage, and necrosis, and the degree of tissue destructiveness. These features were most pronounced in the lesions of pox virus and were least marked in the lesions of culture vaccine virus. The differences were particularly apparent in normal rabbits, but they were also present in the lesions which developed in immune animals. It was found that the calf was susceptible to inoculation with pox virus applied to a scarified skin area. There were many similarities in the appearance and course of the pox lesions to those resulting from culture vaccine virus, the New York Board of Health vaccine, and neurovaccine virus similarly inoculated. But the pox lesions were most numerous, much the largest and most destructive, and by far the most persistent while next in order were those of the Board of Health dermovaccine. The results of these various experiments showed that a close relationship obtains between pox virus, on the one hand, and vaccine virus and neurovaccine virus, on the other, but it cannot be said that pox virus is identical in all respects with either one of these viruses. The findings indicated that the relationship between pox and neurovaccine viruses is closer than that between pox and culture vaccine viruses. Upon the basis of the results observed in culture (dermo) vaccine immune rabbits inoculated with or exposed to pox, it appeared that vaccination with vaccine virus offered a method of protection against rabbit pox.

Dieter Hacker's Mask for Timon of Athens

1995 ◽  
Vol 36 (2) ◽  
pp. 89-90
Author(s):  
GJW
Keyword(s):  
New York ◽  
Performing Arts ◽  
Public Library ◽  
Cultural Center ◽  
Stage Design ◽  
York Public Library ◽  
New York Public Library ◽  
Lincoln Center ◽  
The One ◽  
Timon Of Athens

For the well-received 1990 Bochum Schauspielhaus production of Shakespeare's Timon of Athens, Dieter Hacker, one of Germany's leading artists and stage designers, created fifty-four masks, including the one on the opposite page for Timon himself (Figure I). This mask, Hacker's designs, and photographs of the production were seen in the recent exhibition “Contemporary Stage Design from German and Austria” at the New York Public Library for the Performing Arts, Lincoln Center, presented in collaboration with the Goethe House and German Cultural Center in New York.

scholarly journals The Rebuilding of the South Bronx after the Fiscal Crisis

2017 ◽  
Vol 43 (6) ◽  
pp. 932-959
Author(s):  
Themis Chronopoulos
Keyword(s):  
New York ◽  
Economic Policy ◽  
Affordable Housing ◽  
Low Income ◽  
The United States ◽  
City Government ◽  
The South ◽  
South Bronx ◽  
Public Subsidies ◽  
The One

This article explores the rebuilding of the South Bronx since 1977. This rebuilding represents an important public policy accomplishment, since the South Bronx was one of the most physically devastated areas in the United States. In terms of economic policy, the rebuilding of the South Bronx defies linear narratives. One the one hand, public–private partnerships, which represent some of the most important features of urban neoliberalism, were used heavily in the revitalization of the South Bronx. Community organizations that had been rebuilding areas in the South Bronx in the 1970s and the 1980s were required to conform to the requirements of the market, if they were to continue participating in urban development. On the other hand, the building of housing for low- and moderate-income people is not exactly a neoliberal economic policy, since these housing units were built with public subsidies and regulated by government agencies. In its insistence to rebuild the South Bronx as well as other physically devastated areas, the city government of New York became involved in creative financing by incorporating nongovernment organizations that were ran by accomplished businesspeople but remained nonprofit. And whatever the original intentions of city administrations in building and preserving affordable housing in the South Bronx may have been, the accommodation of so many low-income people performing low-paying but essential jobs has contributed to the making of a more vibrant urban economy, even if these same people are not necessarily the ones benefitting from New York’s economic dynamism.

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