鋼筋加工場門吊基礎設計計算

1、.鐵路段站前三標鋼筋加工場門吊基礎計算書審核：復核：編制：編制日期：目 錄1 門吊基礎設計方案12 門吊基礎驗算22.1 基底地質(zhì)情況22.2 基礎內(nèi)力計算22.3 基礎梁配筋計算42.4 地基承載力73 結(jié)論8.1 門吊基礎設計方案該門吊為起吊能力10t的門吊，門吊自重按 t?；A采用條形基礎，長 m，寬1.0m，高0.8m，基礎采用C20砼，縱向受力鋼筋采用HPB23516mm光圓鋼筋，箍筋采用HPB23510mm光圓鋼筋，箍筋間距200mm，基礎每10m設一道2cm寬沉降縫，基礎方案立面圖、側(cè)面圖如圖1-3，1-4所示。圖1-1 門吊立面圖圖1-2 門吊側(cè)面圖圖1-3 門吊基礎立面圖圖1

2、-4 門吊基礎側(cè)面圖2 門吊基礎驗算2.1 基底地質(zhì)情況基底為較軟弱的粉質(zhì)粘土，采用換填土的辦法提高地基承載力，基底換填0.5m厚的碎石土，未壓實，按松散考慮，地基基本承載力0為200400kPa，取200kPa。查路橋施工計算手冊中碎石土的變形模量E0=2965MPa，取變形模量29MPa。2.2 基礎內(nèi)力計算基礎內(nèi)力計算按彈性地基梁計算，采用Midas civil 2006 模擬彈性地基梁計算。即把基礎梁和地基一同考慮計算，土看成基礎梁的彈性支撐，彈性支撐剛度SDz=龍門吊自重按14t計算，總重24t，四個受力點，單個點受力6t，看成集中力，基礎梁按一段10m長計算，受力計算圖式如圖2-1

3、所示圖2-1 基礎受力計算模型采用midas建模計算，計算模型如圖2-2所示圖2-2 midas計算模型計算結(jié)果如圖2-3、2-4所示圖2-3 彎矩圖圖2-4 剪力圖變形形狀如圖2-5所示圖2-4 變形形狀根據(jù)計算結(jié)果可知：基礎梁最大彎矩26.9k Nm，最大剪力37.4kN。2.3 基礎梁配筋計算配筋根據(jù)公路鋼筋砼和預應力砼設計規(guī)范(JTG D62-2004)中的相關公式進行計算。1)配筋如圖2-5所示圖2-5 配筋圖2）配筋正截面抗彎復核等效成矩形斷面計算，等效高h=800-65=735mm拉壓區(qū)強度，拉壓區(qū)受力鋼筋截面面積，as=50mm，as=65mm，b=1000mm， h0=h-a

4、s=735-50=685mm求受壓區(qū)高度xx0Md=1.226.9=32.3kNm,故滿足正截面抗彎承載力要求。3）配筋斜截面抗剪復核抗剪最大承載力按下列公式計算。其中：異號彎矩影響系數(shù)，按連續(xù)梁取值，為0.9預應力提高系數(shù)，無預應力故取1.0受壓翼緣影響系數(shù)，取1.1b截面寬度（mm），為1000mmh0斜截面受壓區(qū)頂端正截面的有效高度（mm），為685mmp斜截面內(nèi)縱向受拉鋼筋的配筋率，p=100，=As/bh0=402/(1000685)=0.06%，故p=0.06fcuk砼立方體抗壓強度標準值（MPa），C20砼，為20 MPasv箍筋配筋率，sv=fsv箍筋強度，采用雙肢箍筋10mm

5、R235鋼筋，fsv=195MPa代入得到：0Vd=1.237.4kN=44.9kN,故滿足斜截面抗剪要求。4）砼強度復核鋼筋彈性模量Es=2.1105MPa，C20砼彈性模量Ec=2.55104MPa鋼筋砼截面換算系數(shù)將拉區(qū)鋼筋換算成砼后受壓區(qū)高度x換算截面慣性矩 壓區(qū)砼應力1.5MPa0.80fck=0.8013.4=10.72MPa故砼強度滿足要求。5）鋼筋強度復核19.7MPa0.75fsk=0.75235=176.25MPa故鋼筋強度滿足要求。6）板最大裂縫復核其中：考慮鋼筋表面形狀系數(shù)，光圓鋼筋取1.4考慮荷載作用系數(shù)，荷載長期或重復作用取1.5考慮構(gòu)件受力特征系數(shù)，板式受彎構(gòu)件取

6、1.0d縱向鋼筋直徑，為16mm截面配筋率，為0.06%0.006,取0.006代入公式可得：=0.03mm0.2mm，故裂縫寬度滿足要求。綜合上面的計算可知，基礎梁的尺寸和配筋滿足受力要求。2.4 地基承載力根據(jù)內(nèi)力計算同時得到地基反力，如圖2-6所示，單個彈簧支座最大反力19.6kN，單個彈簧支座作用面積長按0.5m，寬1m計算，基底應力：=39.2kPa 0=200MPa，故地基承載力滿足要求。圖2-6 彈簧支座反力3 結(jié)論門吊基礎尺寸和配筋滿足各項受力要求，基礎承載承載力不宜小于50kPA；，同時應盡量保證地基換填后較密實，提高承載力，減少地基沉降。保證門吊安全、穩(wěn)定的工作。軌道安裝在

7、基礎梁上應牢固準確，防止門吊脫軌。附錄：外文翻譯In Wang Zuoliangs translation practices, he translated many poems, especially the poems written by Robert Burns. His translation of Burns “A Red, Red Rose” brought him fame as a verse translator. At the same time, he published about ten papers on the translation of poems. Som

8、e argue that poems cannot be translated. Frost stresses that poetry might get lost in translation. According to Wang, verse translation is possible and necessary, for “The poet-translator brings over some exciting work from another culture and in doing so is also writing his own best work, thereby a

9、dding something to his culture. In this transmission and exchange, a richer, more colorful world emerges. ”(Wang, 1991:112). Then how can we translate poems? According to Wangs understanding, the translation of poems is related to three aspects: A poems meaning, poetic art and language. （1）A poems m

10、eaning “Socio-cultural differences are formidable enough, but the matter is made much more complex when one realizes that meaning does not consist in the meaning of words only, but also in syntactical structures, speech rhythms, levels of style.” (Wang, 1991:93).（2）Poetic art According to Wang, “Bly

11、s point about the marvelous translation being made possible in the United States only after Whitman, Pound and Williams Carlos Williams composed poetry in speech rhythms shows what may be gained when there is a genuine revolution in poetic art.” (Wang, 1991:93).（3）Language “Sometimes language stays

12、static and sometimes language stays active. When language is active, it is beneficial to translation” “This would require this kind of intimate understanding, on the part of the translator, of its genius, its idiosyncrasies, its past and present, what it can do and what it choose not to do.” (Wang,

13、1991:94). Wang expresses the difficulties of verse translation. Frosts comment is sufficient to prove the difficulty a translator has to grapple with. Maybe among literary translations, the translation of poems is the most difficult thing. Poems are the crystallization of wisdom. The difficulties of

14、 poetic comprehension lie not only in lines, but also in structure, such as cadence, rhyme, metre, rhythm, all these conveying information. One point merits our attention. Wang not only talks about the times poetic art, but also the impact languages activity has produced on translation. In times when the language is active, translation is prospering. The reform of poetic art has improved the transl