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1、 本工程为安徽康佳电器有限公司白电工业园二期D#仓库(D1、D2)工程，本工程建筑面积约23017.8平方米，本工程总工期为216日历天。 本工程主要特征： （一）基础：为静压桩基础，基础混凝土强度为C30。 （二）主体：混凝土强度除图纸注明外，均为C30。 （三）屋面：除局部为彩钢板屋面外，其余均为混凝土屋面。 （四）门窗：防火门、卷帘门、塑钢门、塑钢组合推拉窗。 （五）外装饰：外墙除窗台以下为面砖饰面，其余均为涂料饰面。 （六）内装饰：除部分图纸注明为面砖饰面外，其余均为涂料饰面。 （七）楼地面：除卫生间、实验室为地砖饰面外，其余均为金刚砂耐磨地坪。楼地
2、面除注明外均为金刚砂耐磨地坪。 5、±0.000以上模板安装要求 6、模板构造 检查数量：按规范要求的检验批(对梁、柱，应抽查构件数量的10％，且不应少于3 件；对墙和板，应按有代表性的自然间抽查10％，且不得小于3间)。 1.抗弯强度验算
3、 面板截面的最大应力计算值: σ =0.581N/mm2 小于面板截面的抗弯强度设计值 [f]=13N/mm2，满足要求！ 面板的最大挠度计算值: ω =0.018mm 小于 面板的最大允许挠度值:[ω] = 1mm，满足要求！ 板底横向支撑的最大应力计算值 2.355 N/mm2 小于 板底横向支撑抗弯强度设计值 15N/mm2，满足要求！
4、 板底横向支撑的受剪应力计算值 : T =0.188N/mm2 小于板底横向支撑抗剪强度设计值[fv] =1.6N/mm2，满足要求！ 板底横向支撑的最大挠度计算值 : ω=0.272mm 小于板底横向支撑的最大允许挠度 [ω] =4mm，满足要求！ 板底纵向支撑的最大应力计算值 149.573 N/mm2 小于 板底纵向支撑抗弯强度设计值 205N/mm2，满足要求！ 板底纵向支撑的最大挠度计算值 : ω=3.935mm 小于板
5、底横向支撑的最大允许挠度 [ω] =4.876mm，满足要求！ 板底纵向支撑的受剪应力计算值 9.686 N/mm2 小于 板底纵向支撑抗剪强度设计值 120N/mm2，满足要求！ 立杆的稳定性计算 N < Nd，满足要求！
6、 面板的受弯应力计算值 σ =2.749N/mm2 小于 面板的抗弯强度设计值 [f]=13N/mm2，满足要求！ 面板的最大挠度计算值 ω =0.121mm 小于 面板的最大容许挠度值 [ω]=1.04mm，满足要求！ 内楞最大受弯应力计算值 σ = 1.713 N/mm2 小于 内楞的抗
7、弯强度设计值 [f]=15N/mm2，满足要求！ 内楞的最大挠度计算值 ω=0.024mm 小于 内楞的最大容许挠度值 [ω]=2mm，满足要求！ 外楞的受弯应力计算值 σ =77.271N/mm2 小于 外楞的抗弯强度设计值 [f]=205N/mm2，满足要求！ 外楞的最大挠度计算值 ω =0.859mm 小于 外楞的最大容许挠度值 [ω]=0.875mm，满足要求！ 穿梁螺栓所受的最大拉
8、力 N=3.825kN 小于 穿梁螺栓最大容许拉力值 [N]=12.92kN，满足要求！ 面板截面的最大应力计算值: σ =4.614N/mm2 小于面板截面的抗弯强度设计值 [f]=13N/mm2，满足要求！ 面板的最大挠度计算值: ω =0.273mm 小于 面板的最大允许挠度值:[ω] = 1.2mm，满足要求！
9、 方木的最大应力计算值 3.675 N/mm2 小于 方木抗弯强度设计值 15N/mm2，满足要求！ 梁底横向支撑的受剪应力计算值 : T =0.813N/mm2 小于抗剪强度设计值[fv] =1.6N/mm2，满足要求！ 梁底横向支撑的最大挠度计算值 : ω=1.828mm 小于梁底横向支撑的最大允许挠度 [ω] =4.876mm，满足要求！ 梁底纵向支撑的最大应力计算值
10、 49.619 N/mm2 小于 梁底纵向支撑抗弯强度设计值 205N/mm2，满足要求！ 梁底纵向支撑的最大挠度计算值 : ω=0.644mm 小于梁底纵向支撑的最大允许挠度 [ω] =4mm，满足要求！ 梁底纵向支撑的受剪应力计算值 11.138 N/mm2 小于 梁底纵向支撑抗剪强度设计值 120N/mm2，满足要求！ 立杆的稳定性
11、计算 N < Nd，满足要求！ 附录：外文翻译 In Wang Zuoliang’s translation practices, he translated many poems, especially the poems written by Robert Burns. His translation of Burn’s “A Red, Red Rose” brought him fame as a verse translator. At the same time, he published about ten papers on the translation o
12、f poems. Some 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
13、 work, thereby adding 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 Wang’s understanding, the translation of poems is related to three aspects: A poem’s meaning, poetic art and la
14、nguage. （1）A poem’s meaning “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）Po
15、etic art According to Wang, “Bly’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:
16、93). （3）Language “Sometimes language stays 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
17、 it can do and what it choose not to do.” (Wang, 1991:94). Wang expresses the difficulties of verse translation. Frost’s 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 ar
18、e the crystallization of wisdom. The difficulties of 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 languag
19、e’s activity has produced on translation. In times when the language is active, translation is prospering. The reform of poetic art has improved the translation quality of poems. For example, around May Fourth Movement, Baihua replaced classical style of writing, so the translation achieved earth-shaking success. The relation between the state of language and translation is so
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