毕业论文-地源热泵在建筑中的应用、经济性比对及发展潜力.doc

XX广播电视大学毕业论文（设计）题 目 地源热泵在建筑中的应用、经济性比对及发展潜力 姓 名 教育层次 本 科 学 号 省级电大 专 业 土木工程 市级电大 指导老师 教 学 点 地源热泵在建筑中的应用、经济性比对及发展潜力内容摘要针对当前建筑供热策略应用不彻底的现状，本文对地源热泵、空气源热泵等低碳建筑策略在建筑中的应用，以及热泵的合理应用对建筑低碳减排的效果，明确了其优缺点及合理选择的必要性。通过本文的阐述与研究，着重研究地源热泵策略在建筑中的应用及经济性问题，以期对地源热泵的实施发展有一定的推动作用。关键词：低碳建筑，热泵，经济性，应用潜力正文：随着社会的发展和能源利用的加剧，能源问题日益突出，提高能源的利用效率，减少能源的消耗是最直接的低碳减排方法。建筑能耗在社会总能耗中的比重越来越高。建筑能耗的最大特点就是采暖和空调的能耗的巨大,采暖和空调的能耗约占建筑总能耗的55%。地源热泵是一种利用地下浅层地热资源进行供热、供冷的新型空调系统。由于其热源温度比较高，全年稳定，不随外界环境温度的变化而变化，所以不管是冬季供暖，还是夏季制冷，地源热泵的COP都要比其他热源形式的热泵高出许多。目前地源热泵在许多国家已经得到普遍的应用。我国一些城市已建立了地源热泵示范工程，但是推广还存在一定的难度，人们对地源热泵的经济性如何还缺乏了解，所以对地源热泵进行技术经济分析以及各种方案的比较很有必要。地源热泵的涵义 地源热泵顾名思义便是以地下热源为冷热源的供热系统，地源热泵不仅应用地下热源，还是用水体的热量，称为水源热泵，热泵采用的冷热源的种类不同，热泵的性质也不同。地源热泵系统。 只要是以岩土体、地下水或地表水为低温热源，由水源热泵机组、地热能交换系统、建筑物内系统组成的供热空调系统，统称为地源热泵系统。地源热泵工作原理。 地源热泵则是利用水源热泵的一种形式，它是利用水与地能（地下水、土壤或地表水）进行冷热交换来作为水源热泵的冷热源，冬季把地能中的热量“取”出来，供给室内采暖，此时地能为“热源”。表 1.1 传统深层地热与浅层地热传统深层地热浅层地热相同点资源性质可再生资源可再生资源介质地下水土壤、砂石、地下水作用节能环保，释放二氧化碳少蕴藏条件地下土壤、岩石中地下土壤、岩石中地源热泵系统也存在一定的缺点：1）采用地下水作为系统的冷热源，地下水利用后回灌不好会造成地基下沉，操作不当可能污染地下水。2）地源热泵的热交换是在地下进行的，热泵技术适用于容积率较低的建筑类型。不同类型的地源热泵能量来源不同，也有各自特殊的要求。3）地源热泵中央空调的初投资比一般中央空调高许多，一般高出百分之四十左右，土壤源热泵系统每平方米的初投资为400-500元，地下水源热泵每平方米的初投资为300-400 元，海水源热泵的初投资更高。地源热泵系统效益分析地源热泵供热系统与传统的供暖方式相比，社会效益和环境效益使可容忽视的，经济效益也是可观的。地源热泵系统主要将自然界的低温变为高温，采用可再生可循环使用的热源，减少了对环境的污染。能够大大改善城市的空气质量，减轻温室效应，保护环境。 表 1.2 水源热泵中央空调与其它中央空调冷热源的技术特点对比方式设备寿命占地面积驱动方式耗水量环保特点溴化锂吸收式直燃机10年冷却塔占用屋顶面积，机房占地面积大，需要一定的安全间距燃油或燃气，能源利用系数为80%冷却水量的2%是冬季供热的排污补水有一定的噪音和水霉菌污染，有燃烧污染水冷机+电锅炉冷水机组20年电锅炉15年冷却塔占用屋顶面积，电负荷大，须设冷冻站和锅炉房电能利用系数约为3.5-3.8冷却水量的2%是冬季锅炉的排污补水夏季有一定的噪音和水霉菌污染，无燃烧污染水源热泵20年机房占地面积小，可设在地下室电能利用系数约为3.8-6.0只利用地下水源的热量，采用回灌技术，不消耗水资源噪音低，无水源污无燃烧污染地源热泵的应用潜力分析我国浅层地能的资源利用潜力巨大。 低温能量在近百米深度范围内每年可采集的能量是目前我国发电装机容量的 15000 倍。北京地下水可提供的能源折合标准煤约 224 万吨，相当于每年全部供暖能源1100 万吨标准煤的20%，地源热泵应用的节能减排效果是非常显著的。我国浅层地能的资源量如表1.3所示。地下水中的低品位热能对建筑物节能效果明显，5温差的地下水，经热泵技术提升后供暖表 1.3 我国浅层地能的资源量下面是可源中央空调系统的卫生热水运行费用和空调运行电费分别如表1.4、表1.5所示表 1.4热水运行费用表 1.5 空调运行电费水源热泵系统与其他常用供暖制冷方式的运行费用的比较见表1.6。从表中的数据可以看出，水源热泵是经济的低碳建筑策略。随着技术的改进和应用的日益广泛，无论当地气候如何，地源热泵都得到了广泛的应用表 1.6 水源热泵与其它供暖方式运行费用比较表另外，随着环境问题的恶化，传统以燃煤为基础的供暖模式不能适应社会可持续发展的要求。空气源热泵的应用虽然受到气候条件的约束，但以其独特的优点应用比较广泛。 传统的空气源热泵存在一定的缺点，采用一定的方法可以提高其性能，例如采用辅助加热器、变频技术、复叠式蒸汽压缩的热泵系统。采用变频技术可以保证系统运行的稳定性，但是经济性问题却不能很好的解决。噪声的增加、变频器价格问题成为方案推广的主要障碍。为解决制冷剂循环量不足和压缩问题，可以采用辅助加热器提高机组的蒸发温度的方法，改善机组运行环境。地源热泵技术的经济性对比研究太阳能、风能是最常见的可再生能源，大地也是巨大的蓄热体，地下温度基本常年保持稳定，年变化量非常小。在冬季室外气温比较低的情况下，地热温度高于建筑室内温度，地热可以作为热源供建筑使用。夏天地下温度低，可以为建筑降温。我国地热资源极其丰富，全国已发现地热点 3200 多处。传统的分体式悬挂空调夏冬两季平均耗电量约为 1780W/h，而地源热泵的耗电量仅为 650W/h，节约了一半多的电能。地热的应用拥有广泛的前景。 地源热泵系统简单,所需的动力也无须特殊要求，比较容易大范围实施。地源热泵系统占地面积小,水池深度较浅,集供热和制冷于一体,蓄热能力强,与周围土壤的换热面积大,效率比较高。 地源热泵系统主要利用自然界的低温变为高温，采用可再生可循环使用的热源，减少了对环境的污染。地源热泵比传统空调系统运行更加可靠稳定，运行效率高,节能效果明显。地源热泵系统要比燃料锅炉节省一半的能量,比电锅炉加热节省三分之二的电能,运行费用也只有普通中央空调的 50%60。地源热泵供热100kJ的情况下燃煤电厂所需的燃煤热量为75 kJ。使用燃油锅炉则需要热量125kJ,燃煤锅炉提供100kJ制取热水的成本。电热水器每年耗电折合标准煤约 2630 万吨。如果 10%的电热水器被热泵热水器代替，那么每年可节约电能折合标准煤约129 万吨。国内空气源热泵没有引起足够的重视，在推广方面存在一定的困难。附 每立方米热水成本比较实际建筑设计实例:下面是一个商业综合体的地源热泵空调系统的设计某超高层商业综合体全套暖通设计施工图纸（含地源热泵空调系统）；工程总建筑面积地66996.00m2，地下19681.00m2，共四十一层(地下二层、地上三十九层)，建筑高度为147.800m；地下层为车库、餐厅、冷冻机房、锅炉房等设施用房；地上层包含五星级酒店、酒店式公寓、配套商业以及办公用房等。暖通系统包含常规冷水机组加锅炉系统及地源水环热泵系统。设计内容：1）本工程空调、通风及防排烟系统设计；2）本工程酒店式公寓地源水环热泵空调系统；3）地源热泵地埋管换热系统方案设计；4）冷冻机房、锅炉房设计及自控系统设计。本设计地源热泵一机两用，既供暖又供冷。共三种驱动源分别为：电动机、柴油机、燃气机；辅助热源分别为：电锅炉、油锅炉、燃气锅炉。当驱动源采用柴油机或燃气机时，对柴油机或燃气机的废热进行回收。地源热泵供暖制热系数取3.1，供冷制冷系数取4.0，单体空调制冷系数取2.9；电锅炉的热效率取1.0，油锅炉和燃气锅炉的热效率取0.85；柴油机和燃气机的废热回收率取0.60。地源热泵地下埋管采用垂直套管，孔深100m，埋管采用高密度聚乙烯(HDPE)管，单位长度钻孔的换热量取35Wm 2 。地源热泵的使用寿命为15a，系统供暖总容700kW。冷热源系统图其中水源热泵机主要是水水式。三个系统之间靠水换热介质进行热量的传递，水源热泵与地能之间换热介质为水，与建筑物采暖换热。常用抽水泵控制方法有：设置双限温度的双位控制、变速控制和多井调节控制。 制冷机房平面详图锅炉房平面图其中水源热泵系统关键参数值 (1)井水温度：水源水温1222；。 (2)井距、井深：并距5070m，井深应确保水温参数。 (3)回灌井数：采水井与回灌井数配比应为1：2，最少为1：1。 (4)灌采水量比：回灌量最好为100，最小也应不小于采水量的80。 (5)采水设备(潜水泵)检修周期：051年，以确保井水源热泵系统的正常运行。 地埋管平面布置图以上是本设计换热井竖向大样图，经过了实地土壤岩石考察及换热管经济学比对后独立设计出来的的，可以有效的提供热源并且有利于施工。地源热泵技术的制约条件虽然国内对土壤源热泵的探索性研究，但在如何有效地降低系统初投资、保证系统的可靠运行等方面的研究一直没有突破。其主要的原因是已开展的研究绝大多数都局限于对所建立的实验系统进行性能测试并与传统的空气热源热泵性能进行技术经济比较，从而得出土壤源热泵节能的一般性结论。由于缺乏对埋地换热器在土壤中复杂的传热、传质综合传递过程的深入研究，使得这些结论只适用于某一具体实验系统，所提供的基础数据较少而不能作为设计依据。综合国内外土壤源热泵的研究现状，可以发现影响土壤热源热泵广泛应用的主要原因是：（1）缺少针对不同土壤特性或回填材料所进行的热物性实验研究；（2）缺少用新的理论描述埋地换热器传热传质机理及强化传热过程的理论模型；（3）缺少根据不同冷、热负荷确定合理埋地换热器形式并把此与土壤热泵系统最佳匹配参数相结合的研究；（4）冬季从地下连续取热时，难以保证埋地换热器与周围的土壤有足够的传热温差。大规模地源热泵系统的广泛应用，促进了对于地源热泵的理论研究，在地源热泵系统中，埋地换热器一直是地源热泵技术的难点，同时也是该项技术研究的核心和应用基础。所以，针对目前工程所作的研究均围绕埋地换热器进行，其主要内容为：新型的桩基式埋地换热器与传统的埋管式换热器换热性能的差异；大规模地源热泵系统对土壤温度场的影响，土壤的恢复时间，以及合理的埋管间距等；U型管与W型管的换热性能比较；U型管内部热干扰的影响等。地源热泵行业作为市场规模巨大的新兴产业，目前执行的标准仅有2005年编制、2009年修编的国家标准地源热泵系统工程技术规范（GB 50366-2005）和设备生产方面的国家标准水源热泵机组（GB 19409-2003）等少数几个，严重滞后于该产业的发展。从产业自身发展来看，缺乏完善的地源热泵制造标准和应用规范，工程施工质量缺少监理规范同时，国内已建的大部分热泵工程，均未建立地下水和岩土监测系统，不掌握地源热泵运行过程中对地质环境产生的影响，相关的土壤热传导机理研究和地下水回灌技术仍需完善。地源热泵发展风险及潜力地源热泵空调系统是目前为止，在各种条件下可以稳定运行的低碳环保空调系统，由于其采用地下能量，较普通中央空调、空气源热泵空调都更加节能，短期内对传统中央空调系统有较大的冲击，比风能、光能、潮汐能等新能源系统技术更加成熟、系统也更加稳定。但就其本质而言，仍然需要使用电来带动热泵主机，不是完全的可再生能源，在未来的科技发展和新能源不断成熟的条件下，可能会遭到太阳能空调等的替代。我国城乡既有建筑总面积约400亿平方米，其中城镇约为160亿平方米，在城镇中居住建筑面积约为105亿平方米，其中能达到建筑节能标准的仅占5%，其余95%都是未来需要陆续进行节能改造的高能耗建筑；同时，我国每年新增房屋建筑面积约20亿平方米，预计到2020年底，我国新增的房屋面积将近300亿平方米，新增城镇民用建筑面积约 100150亿平方米。随着人民生活水平提高，我国采暖线也将逐步南移，采暖面积会逐步增大，新建建筑将有70亿平方米以上需要供暖。据全国地源热泵委员会调查，截至2010年，我国地源热泵使用总面积已达1.6亿平方米，市场相关产品销售总额已超过700亿元人民币。预计到2020年，我国的地源热泵市场规模将比目前增长58倍。在可以预见的未来若干年，中国地源热泵行业仍将快速发展，主要有四方面原因：第一，科技为先导，科研技术人员十几年来不断努力创新取得的成果为推广地源热泵奠定了良好的技术研发基础；第二，不管是建设行业，还是地质行业等都很关心地源热泵的发展，行业的推动为地源热泵在中国的推广和应用助一臂之力，相关政府部门也已经制定和出台了一些相关管理条例和办法；第三，政府的支持力度很大。财政部和住建部联合出台可再生能源建筑应用专项资金管理暂行办法 为地源热泵的推广提供了财政上的支持和补贴，对中国的地源热泵的发展起到了重要的作用，有利于开展全国范围内的推广；第四，市场的选择起决定性作用，这取决于地源热泵的自身特点，可让开发商和建设单位有多样选择。参考文献：1张评衔.建筑节能及太阳能建筑.建筑与结构设计.2009.022高金明.地源热泵系统之简述分析.民营科技.2010 年第五期 3张国东.促进地源热泵在建筑中应用的经济激励机制研究.哈尔滨工业大学，2008.09 4李少朋等.冬季水源热泵系统的能效分析.山西能源与节能.2010年第2 期 5胡丽华.热回收水源热泵的设计与节能分析.制冷.2010年3月，第29卷第一期 6俞丽华，马国远，徐荣保.低温空气源热泵的现状与发展.建筑节能.2007第3期 7石金凤，李安桂,陈树立,史雅楠.西安地区外墙经济保温层厚度研究 8龚延风.空气源热泵全年运行的经济性分析.流体机械.2002年第30 卷,第3 期 9杨纪东.空气源热泵热水系统的技术及经济优势分析.浙江建筑，第26 卷，第5 期，2009年5月 10颜浩.空气源热泵在建筑节能中大有作为. 新能源与环境. 2008年第11 期,总第36 卷第213 期11李元旦，张旭，周亚素，陈沛霖， 土壤源热泵冬季工况启动特性的实验研究，暖通空调，2001（1）12张旭，高晓兵 华东地区土壤及土沙混合物导热系数的实验研究，暖通空调，2004(5)13.徐琳，张旭 土壤热源热泵系统节能分析，煤气与热力，2006（3）为你提供优秀的毕业论文参考资料，请您删除以下内容，O(_)O谢谢！A large group of tea merchants on camels and horses from Northwest Chinas Shaanxi province pass through a stop on the ancient Silk Road, Gansus Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilometers and take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined the troupe in 1975.He says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. I can still recall the days when I toured with the troupe in the early 80s. We sat on the back of pickup trucks for hours. The sky was blue, and we couldnt help but sing the folk songs, Nasun says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. The nomadic people were very excited about our visits, Nasun recalls. We didnt have a formal stage. The audience just sat on the grass. Usually, the performances became a big party with local people joining in. For him, the rewarding part about touring isnt just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as red burgeon, and todays performers of the troupe still tour the regions villages and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijings Poly Theater. Their show, titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. Being from the region allowed me to embrace the culture of Inner Mongolia and being a member of the troupe showed me where I belonged, Nasun, the art troupes president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a solider from Shenyang, capital of Northeast Chinas Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year, Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a 25-year-old khoomei (a local variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones that he writesall while playing the horse-head fiddle.Although I learned the piano since childhood and grew up listening to various kinds of music, to me, the folk music of Inner Mongolia is the root, he says. Performing in remote villages is pleasant. I feel at home on the boundless grasslands, and the warm people there make me feel fulfilled. The first round of spring auction season in Beijing ended last week, but it failed to create much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in trading volume and sale rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous representative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5 million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the year before. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section number went down to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock market and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to their own value not due to a revival in the market. The successful transaction of two works with a hammer price of more than 100 million yuan once again confirms that valuable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the pillar of the market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president of China Guardians Hu Yanyan. Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a word, the overall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market has walked out of the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pursuit of some special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal with total sales volume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was sold for 5.06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions also set a special session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull thud of disappointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese fans were fed tidbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan is, of course, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Two years ago, it was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North America after some modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. This version, highly anticipated as a milestone in Chinas cultural foray overseas, has been widely panned by its home audience. Retitled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing threw off many native viewers, who are accustomed to a more leisurely daytime-soap-style narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficult to follow. Whats lost, I believe, are the interesting setups and pauses that illuminate the Chinese art of storytelling. Much of the plot is still there. It is the flavor that was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting at whats to come and recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. They were obviously designed to appeal to an English-speaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It is fairly competent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the commonalities. But whether inside or outside China, the temptation to sell it for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has becomehow shall I put it?a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English trailer, is totally fictitious, has departed from China but not yet landed on American shores. I am a big fan of Ralph Waldo Emersons essay titled Self-Reliance. If youve not yet read it, I strongly encourage you to do so. In this essay, the venerable Emerson talks about eschewing the trappings of society and finding ones own path. He urges the reader to find rectitude and lead a moral life. He professes that, only by being self reliant, as opposed to relying on the government and being dictated to by society, can one begin leading a decent and purposeful life. He avers that such a life is the only life worth living. I agree with him. This essay was written during a time of social upheaval in America, and it is rather odd that Emerson authored it, as he was a part of the upper crust of society at the time. It just so happened that he looked around him, at the indolence and the wantonness of the people in his circle; he wondered how in the world he came to belong there. Indeed his penning and publishing this essay caused his excommunication fro