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Products
A. Standard Photovoltaic Module with mono or poly crystalline solar cell
180 S5 (72 pcs 5” cell) 825*1576*50mm
90 S5 (36 pcs 5” cell) 552*1206*33mm
*Above module can use both white or transparent back sheet.
B. Build Integrated photovoltaic Module (BIPV)
up to 4’ × 8’ (1219.2 × 2438.4mm)
Translation - Spanish Silicio Policristalino vs. Película fina α-Si
Comparación entre módulo de película fina a-So y el módulo c-Si
Electrodo
Capa de silicio
Módulo de película fina α-Si
Grosor: aprox. o.3 n
Sustrato de crystal
TCO
Electrodo
Aprox 1/600
Módulo cristalino de silicio
Grosor: aprox. 200 n
TCO
____________________
Productos
A. Módulo fotovoltaico estándar con célula mono- o policristalina
180 S5 (célula de 5” de 72 pzs) 825*1576*50mm
90 S5 (célula de 5” de 36 pzs) 552*1206*33mm
*Este módulo puede emplear placa trasera tanto blanca como transparente
B. Construir módulo fotovoltaico de integración arquitectónica (BIPV) de hasta 4’ x 8’ (1219,2 × 2438,4mm)
English to Spanish: Wind Turbines_Electra Energy
Source text - English Suzlon’s Design Philosophy
• Low life time cost/kWh
• Wind power plants based on reliable WTGs – work horses
• In-house design of blades, hub, nacelle and tower
• All critical main components are manufactured by Suzlon
• SCADA system to ensure optimal operation, data collection and asset management
• Operation and maintenance concepts based on trained personnel and good manuals not engineers and experts
• Well known technologies and components from former Suzlon wind turbines or other WTGs or concepts
Translation - Spanish Filosofía de diseño de Suzlon
• Bajo coste/kWh en vida útil
• Instalaciones de energía eólica basadas en WTGs fiables – herramientas excelentes
• Diseño interno de las palas, el buje, la góndola y torre
• Todos los componentes esenciales principales manufacturados por Suzlon
• Sistema SCADA para asegurar una operación, recolección de datos y gestión de recursos óptimas
• Conceptos operativos y de mantenimiento basados en personal formado y buenos manuales, no ingenieros y expertos
• Tecnologías conocidas y componentes de anteriores aeroturbinas de Suzlon u otros WTGs o conceptos
Spanish to English: Instalación Solar Fotovoltaica_Electra Energy
Source text - Spanish 7.6. Puesta a tierra
7.6.1. Tierra de Protección
Se conectarán a tierra los elementos metálicos de la instalación que no estén en tensión normalmente, pero que puedan estarlo a causa de averías o circunstancias externas.
Los elementos a conectar a esta toma de tierra de protección son:
• Chasis y bastidores metálicos de aparamenta de maniobra.
• Envolventes de los conjuntos de celdas y armarios metálicos.
• Carcasas metálicas de los transformadores y rejillas de protección.
No se unirán, por el contrario, las rejillas y puertas metálicas del Centro, si son accesibles desde el exterior.
La tierra de protección se realizará con cable de 50 rnm2 de cobre desnudo conectado a una arqueta prefabricada. Este cable conectará a tierra los elementos indicados e irá sujeto a las paredes mediante bridas de sujeción y conexión.
7.6.3. Tierras interiores
Las tierras interiores del Centro de Transformación tendrán la misión de poner en continuidad eléctrica todos los elementos que deban estar conectados a tierra con sus correspondientes tierras exteriores.
La tierra interior de protección se realizará con cable de 50 mm2 de cobre desnudo formando un anillo. Este cable conectará a tierra los elementos indicados en el apartado 7.6.1. e irá sujeto a las paredes mediante bridas de sujeción y conexión, conectando el anillo al final a una caja de seccionamiento con un grado de protección IP545.
Translation - English 7.6. Earthing
7.6.1. Protection earth
The metallic elements of the installation that are normally not in tension, but which can be so due to breakdowns or external circumstances, will be earthed.
The elements to be connected to this earth protection contact are:
• Metallic framework and manoeuvre equipment casings.
• Envelopes of the sets of cells and metallic cupboards.
• Metallic casings for the transformers and protection grilles.
The metallic grilles and doors of the Centre, on the contrary, will not be joined if they can be accessed from the exterior.
The protection earth will be done with a 50 mm2 bare copper wire connected to a prefabricated casket. This cable will connect the indicated elements to earth and will be attached to the walls with fixing and connection bridles.
7.6.3. Internal earths
The internal earths of the Transformation Centre will have the mission of putting in electric continuity all the elements that should be connected to earth with their corresponding external earths.
The internal protection earth will be done with a 50 mm2 bare copper wire forming a ring. This cable will connect the elements indicated in 7.6.1. to earth, and will be attached to the walls with fixing and connection bridles, with the ring connected to the end of a sectionalisation box with a protection degree of IP545.
Portuguese to English: Article_Vogue House
Source text - Portuguese Out of Africa
No rufar dos tambores de Casa Vogue, Alberto Lahós e Marco do Carmo visitam as muitas Áfricas para criar uma casa cheia de raiz e etnicidade
Por Flávia Rocha Fotos Romulo Fialdini
Africanismo. No living, uma colagem de matrizes de influẽncia Africana: sofa, bu Estilo Inglês, com tecido da Spazio Donatelli, almofadas étnicas da Ana Luiza Wawelberg, almofada de zebra, Beto Altílio, abajures e gravuras de Rubem Valentim, da Estúdio Jacarandá, tela Roberto Mícoli, poltronas francesas com tecidos africanos da Ivy, banqueta vermelha da Casual Móveis, banco Ashanti da Juliana Benfatti e tapete Século.
“Lulu veio do mundo selvagem para mostrar qye estávamos em sintonia com ele, e fez da minha casa uma só com a paisagem Africana, de forma que não se podia dizer onde uma começava e a outra terminava”, escreve Isak Dinesen (pseudônimo da baronesa dinamarquesa Karen Blixem), em seu livro de memórias A Fazenda Africana, sobre os dezoito anos em que vive una África, entre 1914 e 1931. Lulu era seu antílope de estimação. Inspirando-se no cenário selvagem com toques de requinte europeu descrito pela narradora (interpretada no cinema por Meryl Streep numa clássica adaptação de Sydney Pollack: Out of Africa), e nas suas próprias viagens à África, os arquitetos Alberto Lahós e Marco do Carmo aceitaram o desafio de Casa Vogue para criar uma decoração que refletisse o espírito do continente negro: suas raízes nativas, a influência européia e o legado para o Novo Mundo, em especial para o Brasil. “O clima da decoração que criamos foi uma coisa meio anos 40, uma casa de alguém apaixonado pelas cores, pelas artes e pela cultura do mundo afora.”
Com um olhar transatlântico, eles garimparam peças de épocas, estilos e origens diversas. Nessa combinação de elementos, entram em cena o étnico (o banco Ashanti), a ornamentação (o dente de hipopótamo com acabamentos em metal), o mobiliário colonial europeu, (em especial francês e britânico), a interpretação pessoal (a fotografia de paisagem da Bahia que lembra a savana Africana, by Tuca Reinés), a leitura histórica (influência primitivista sobre o Modernismo, numa pintura abstrata de Roberto Mícoli), e a cultura popular (vista nas esculturas alongadas com cabeças, do artista brasileiro Florian Raiss, que lembram esculturas africanas). “Quando começamos a pesquisar, além dos filmes, dos livros e das viagens que já havíamos feito, fomos também visitor o Museu Afro-Brasileiro, no parquet do Ibirapuera. Quando uma coisa está intrínseca em nossa cultura, muitas vezes não nos damos conta. Já nascemos com aquelas influências, não so na música, na culinária, na indumentária, no artesanato”, dizem quase que em uníssono.
Translation - English Out of Africa
The drumroll sounds as Alberto Lahós and Marco do Carmo present to Vogue House their creation, visiting the many different Africas, of a home full of tradition and ethnicity.
Text: Flávia Rocha Photography: Romulo Fialdini
Africanism. In the living room, a collage of matrixes of African influence: sofa, by Estilo Inglês, fabric by Spazio Donatelli, ethnic cushions by Ana Luiza Wawelberg, zebra cushion, Beto Altilio, lamps and paintings by Rubem Valentim, from Estúdio Jacarandá, fabric by Roberto Micoli, French armchairs with African fabrics by Ivy, red stool by Casual Móveis, Ashanti bench by Juliana Benfatti and carpets by Século
“Lulu came from the wild to prove that we were in harmony with him, and he made my house and the African landscape one, in such a way that one couldn’t tell where one started and the other ended,” writes Isak Dinesen (pseudonym of the Danish baroness Karen Blixen), in her memoirs Out of Africa, about the 18 years she lived in Africa, between 1914 and 1931. Lulu was her pet antelope. Inspired by the wilderness landscape with the touches of European refinement described by the narrator (played by Meryl Streep in the classic screen version by Sydney Pollack, Out of Africa), and by their own travels to Africa, architects Alberto Lahós and Marco do Carmo accepted the challenge presented by Vogue House to create a décor that would reflect the spirit of the black continent: its native roots, the European influence and its legacy for the New World, for Brazil in particular. “We gave a bit of a 40s air to the décor that we created, the home of someone that loves colours, art and foreign cultures.”
For this transatlantic look, they collected pieces from diverse periods and of varying styles and origins. It is within this combination of elements that ethnicity comes into play (the Ashanti bench), as well as the ornamental (the hippo tooth with a metallic finish) and colonial European furniture (especially French and British). There is also a variety of interpretations of the African aesthetic: a personal one in the photograph (a Bahia landscape that evokes the African bush, by Tuca Reinés), the historical interpretation (a primitivist influence on Modernism in an abstract painting by Robert Micoli), and through popular culture (in the elongated sculptures with heads, by Brazilian artist Florian Raiss, which remind us of African sculptures). “When we started researching, apart from the films, books and trips we had already taken, we went to the Afro-Brazilian Museum, in the Ibirapuera Park (São Paulo). When something is intrinsic in our culture, we don’t normally notice it. We are born with those influences, not only in the music, the cuisine, the clothes, the crafts,” say both architects, almost in unison.
English to Spanish: Tell him lyrics_for live performance
Source text - English Tell Him
I'm scared
So afraid to show I care
Will he think me weak
If I tremble when I speak
Oooh - what if
There's another one he's thinking of
Maybe he's in love
I'd feel like a fool
Life can be so cruel
I don't know what to do
I've been there
With my heart out in my hand
But what you must understand
You can't let the chance
To love him pass you by
Tell him
Tell him that the sun and moon
Rise in his eyes
Reach out to him
And whisper
Tender words so soft and sweet
I'll hold him close to feel his heart beat
Love will be the gift you give yourself
Touch him (ooohh)
With the gentleness you feel inside(I feel it)
Your love can't be denied
The truth will set you free
You'll have what's meant to be
All in time you'll see
ooohh
I love him (then show him)
Of that much I can be sure (hold him close to you)
I don't think I could endure
If I let him walk away
When I have so much to say
Tell him
Tell him that the sun and moon
Rise in his eyes
Reach out to him
And whisper
Tender words so soft and sweet
Hold him close to feel his heart beat
Love will be the gift you give yourself
Love is light that surely glows
In the hearts of those who know
It's a steady flame that grows (oh ooh oh oh)
Feed the fire with all the passion you can show
Tonight love will assume its place
This memory time cannot erase
Your faith will lead love where it has to go
Tell him
Tell him that the sun and moon
Rise in his eyes
Reach out to him
And whisper
Whisper words so soft and sweet
Hold him close to feel his heart beat
Love will be the gift you give yourself
ooh ooh ooh
Never let him go
Translation - Spanish Díselo
Tengo miedo
De mostrar lo que siento
¿Creerá que soy débil
Si tiemblo al hablar?
Oooh – ¿y qué si
hay otra en la que piensa?
¿Estará enamorado?
Me sentiría tonta
La vida puede ser cruel
No sé qué hacer
Sé lo que es
Entregar todo mi corazón
Pero debes entender
No dejes escapar
La oportunidad de amarle
Díselo
Que el sol y la luna
Están en sus ojos
Tócale
Susurra
Palabras tiernas y muy dulces
Abrázale para sentir su corazón
El amor será el regalo que conseguirás
Tócale (ooohh)
Con la ternura que sientes dentro (la siento)
No podrá negarte su amor
La verdad te liberará
Tendrás lo que debe ser
Con el tiempo lo versa
Ooohh
Le amo (demuéstralo)
De eso estoy segura (abrázale fuerte)
No lo soportaría
Si lo dejara alejarse
Teniendo tanto que decir
Díselo
Que el sol y la luna
Están en sus ojos
Tócale
Susurra
Palabras tiernas y muy dulces
Abrázale para sentir su corazón
El amor será el regalo que conseguirás
El amor es luz que brilla firme
En los corazones de los que conocen
Una llama que crece implacable (oh ooh oh oh)
Aviva el fuego con toda tu pasión
Esta noche el amor vendrá
No se borrará el recuerdo
Tu fe llevará el amor donde debe ir
Díselo
Que el sol y la luna
Están en sus ojos
Tócale
Susurra
Palabras tiernas y muy dulces
Abrázale para sentir su corazón
El amor será el regalo que conseguirás
Ooh ooh ooh
No le dejes marchar
Spanish to English: Article_Psychiatry Studies
Source text - Spanish La importancia de los estudios de la prevalencia del trastorno
disocial de la conducta (TDC) durante la adolescencia estriba en
que este problema puede ser el principal predictor del trastorno
antisocial de la personalidad (TAP) en los adultos jóvenes [1-3]'
Hay una clara continuidad entre el oposicionismo desafiante (OD)
de los niños pequeños, el TDC de los adolescentes y las conductas
antisociales de los adultos jóvenes [3 -5]. Quizá la diferencia de los
problemas de conducta en relación con la edad esté en el tipo de
síntomas que predomina en cada grupo. Así, hasta los l0 años son
manifiestas las rabietas, las explosiones temperamentales, la desobediencia deliberada y la tendencia a ser rencoroso; de los 11 a
los 17 años sobresalen los síntomas relacionados con la violación
seria de las normas y en la adultez temprana el inicio de actos
criminales deliberados [3,4].
Translation - English The importance of the studies of the prevalence of dissocial conduct disorder (CD) during adolescence lies in that this problem can be the main predictor of the antisocial personality disorder (ASPD) in young adults [1-3]. There is a clear continuity between the oppositional defiant disorder (ODD) in young children, the CD in adolescents and antisocial behaviours in young adults [3 -5]. Perhaps the difference in behaviour problems in relation to age is in the type of symptoms that dominate in each group. So, until the age of 10, tantrums, temperamental explosions, deliberate disobedience and the tendency to be resentful are manifest; from ages 11 to 17, symptoms related to serious rule violation and the beginning of deliberate criminal acts in early adulthood are notable [3,4].
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