Problems needing attention in the process of architectural surveying and mapping

1. I'll give you some reference materials. I hope it helps.

Several requirements of hospital chief engineer for structural designers

According to the requirements of the Ministry of Construction, the chief engineer of a hospital asked structural designers to fully implement some precautions in the new code from June 5438+1 October12003, and the corresponding 89 series codes were abolished. In order to correctly understand and effectively implement the relevant 2000 series specifications, the following points are put forward for the attention of structural designers: 1. The general clause is 1, and the design description should indicate the design service life and safety grade of the project. The selected building materials should indicate the specifications, models, performance and other technical indicators, and their quality must meet the requirements of national standards. 2. For the design project signed in 2003, all the software matching the new specifications should be used for calculation and analysis, with TBSA version 6.0 and Sartre version 2003. 1 and higher. 3. As a result of calculation with the new software, the steel consumption will increase. It is stipulated in our hospital that the new version of software is used to calculate the main reinforcement of beams and columns, and HRB400 is preferred as the reinforcement. The stirrup of the first-class column should be mainly HRB400.4 and wind load. The design life of Nanjing area is 50 years, with W0 = 0.40 kPa, 100, and W0 = 0.45. This value should be given for buildings sensitive to wind load and high-rise buildings over 60 meters. 5. The basic snow pressure in Nanjing in the 50-year design period is 0.65Kpa, and that in 100 design period is 0.75Kpa. 6, the definition of small tower should be careful, when the height of the tower has an impact on the appropriate height of the building structure, the small tower should be reported to the structural professional committee of the Academy for confirmation. 7. Holes, pits, foundations, embedded parts, etc. reserved for steel grids, elevators and other equipment in the construction drawing must be marked: "The relevant dimensions must be signed and approved by the equipment manufacturer before construction." 8, masonry structure is not allowed to set the corner bay window. 9. Steel structure engineering design must indicate: weld quality grade, fire resistance grade, derusting grade and painting requirements. 10, masonry engineering design must indicate the design of construction quality control level. (generally use level b). 1 1, masonry structure should not be equipped with a small amount of reinforced concrete walls. 12, when there is a height difference in the masonry structure floor, the height difference should not exceed one beam height (generally not more than 500mm). More than two floors, staggered floors should be included in the total floor. 2. Calculated value of structure 13 and general information of structural calculation: (1) Concrete bulk density (KN/m3)26 ~ 27, total shear structure 27. If it is 25, the shear wall needs double flour layer load. (2) The number of basement floors is the actual number of basement floors. When the basement is included in the calculation, it is wrong not to specify the number of floors in the basement. Please check with the examiner. (3) Calculate the number of vibration modes, which is a multiple of 3, and the number of vibration modes of high-rise buildings should be at least 9. Considering the torsional coupling calculation, the number of vibration modes should not be less than 15, and the number of towers of multi-tower structure should not be less than 9. When calculating, check the modal participation coefficient of Cmass-x and Cmass-y to ensure that it is not less than 90%. If not, increase the number of modes and recalculate. (4) The "general reduction factor of live load quality" RMC in seismic data is 0.5, and the specific problem is as per seismic article 5. 1.3). (5) Considering the influence of infilled wall on stiffness, the natural vibration period should be reduced. When the infilled wall is a brick wall, the frame structure is 0.6-0.7, the frame-shear wall structure is 0.7-0.8 and the shear wall structure is 0.9- 1.0. (6) In the live load information, "whether the live load of columns and walls is reduced" is generally not reduced, but "whether the live load transmitted to the foundation is reduced" should be reduced. (7) The "center sill stiffness increase coefficient" BK in the adjustment information is 2.00; "The amplitude modulation coefficient of beam end bending moment" Bt = 0.85 ~ 0.9 "The side bending moment increase coefficient in beam span" BM =1.05 ~1.10, generally taken as1.05; For multi-storey buildings with live load greater than 3.0Kpa, the "coupling beam stiffness reduction factor" BLZ is 0.50 ~ 0.7, and the minimum value is 0.50, generally 0.55. When the structural displacement is controlled by wind load, it should not be less than 0.8; "Beam torque reduction factor" TB, generally 0.40; The "seismic force amplification factor of the whole building" is generally 1.0. When λ does not meet Article 5.25 of the Seismic Code, use this coefficient to adjust it to meet it. "0.2Q0" frame-shear structure must be adjusted; When the number of vibration modes is greater than 9, take1; Otherwise, take 3 to enlarge. 14. The structural auditor should check the computer results in the preliminary design stage. The main parameters, such as shear-weight ratio, period ratio (the ratio of the basic period dominated by torsion to the first translation period) and displacement ratio (the ratio of the maximum elastic story displacement to the average story displacement), should be controlled to meet the basic requirements of the code. 15. Due to the poor integrity of the bleachers and theaters with inclined seats, it is difficult to form the assumption that the floor stiffness is infinite, and it is necessary to supplement the single checking calculation. 3. Basic requirements of geological survey report: 16. If the design institute arranges drilling and puts forward survey requirements, it must be noted that the survey department should make necessary adjustments according to the survey specifications and on-site geological conditions. If the design commissioned by the owner has completed drilling, the designer should check it according to the following basic requirements: (1) The layout of drilling control points should be at the periphery of the building, that is, there should be drilling holes at the four corners of the building. (2) Drilling is divided into ordinary drilling and control drilling. Hole depth requirements: the depth of exploration hole should be able to control the main bearing stratum. When the width of foundation bottom surface is not more than 5m, the depth of exploration hole should not be less than 3 times of the width of foundation bottom surface for strip foundation, and not less than 1.5 times and not less than 5m for single foundation. For high-rise buildings and foundations that need to be checked for deformation, the depth of exploration holes should be controlled to exceed the calculated depth of foundation deformation. (3) The exploration hole with the exploration depth of pile foundation a. 1/3- 1/2 is the control hole, and at least 3 control drilling holes shall be arranged in the pile foundation site of the first-class building, and at least 2 control drilling holes shall be arranged in the pile foundation of the second-class building. The depth of the controlled drilling hole should pass through the thickness of the compression layer below the pile end. Generally, the drilling hole should be 3-5m below the pile end plane. B drilling holes for rock-socketed piles shall be no less than 3 ~ 5 times the pile diameter. When the bearing stratum is thin, the control borehole should pass through the bearing stratum. In karst areas, the distribution of karst caves and gullies should be found out. (4) In the investigation report, in addition to soil exploration holes, in-situ tests, single-bridge cone penetration tests and standard penetration tests should also be required. For the site suitable for precast pile foundation, it should be required to estimate the resistance around the pile and the resistance at the end of the pile by single bridge static penetration test according to formula 5.2.6- 1. (5) For rock-socketed pile foundation, the investigation report is required to provide all the coefficients, uniaxial compressive strength of rock and bedrock integrity required by Nanjing Foundation Code and formula 9.9.4-3 of rock-socketed pile. (6) For projects with basements, the survey report is required to provide all engineering characteristics required by the design of foundation pit support. (7) When the local groundwater is shallow and the basement of the building floats, the survey report shall be required to provide the design water level for calculating the buoyancy of groundwater. (8) The exploration report should divide the site soil types and site soil types, and distinguish between the liquefaction of saturated sand and silt. (9) The design of pile foundation should require the exploration report to provide the parameters of various pile types, so as to make a technical and economic comparison of various pile foundation schemes, and avoid that there is only one pile foundation parameter, and the idea is limited by the exploration department and it is impossible to choose a better foundation scheme. Four. Basic design 17. In foundation design, the foundation area or pile number should be determined, and the load effect of the upper part should be combined according to the load effect standard in the normal service limit state. The corresponding resistance should adopt the characteristic value of foundation bearing capacity or the characteristic value of single pile bearing capacity. 18. When calculating the foundation deformation, the load effect transmitted to the bottom surface of the foundation is a quasi-permanent combination of load effects under the normal service limit state, excluding wind load and earthquake action. 19, the reinforcement of foundation slab should be determined by bending calculation, and the design value of foundation reaction force when the basic combination of load effects is adopted for the foundation reaction force. When calculating the reinforcement of pile cap, the design value of vertical force of pile corresponding to the basic combination of load effects is adopted. 20. The vertical ultimate bearing capacity of single pile determined by static load test divided by safety factor 2 is the characteristic value ra of vertical bearing capacity of single pile. 2 1 and (1) The pile length of manual digging piles should not be greater than 40m or less than 6m. If the pile length is less than 6m, it should be considered as pier foundation. Although the length of the pile is more than 6m, the L/D(D is the enlarged end diameter)

2. Sketch practice is a comprehensive process from feeling to understanding, with its special laws and scientific and rigorous methods and steps. Therefore, whether it can follow its rules and regulations and guide sketch practice in an orderly way will be very important to the effectiveness of learning.

The methods and steps of sketch practice are composed of the following parts: observation, composition, outline, relationship-building, in-depth description and arrangement.

Observation: First of all, it is almost necessary and quite difficult to really learn to observe physical objects. -Many beginners often overlook this point, and they are in a hurry to start painting before sitting down. Like this, it is very harmful to think that the success or failure of painting depends mainly on the performance of kung fu at hand, or rely on accumulated knowledge and methods to gradually develop a problem that is difficult to correct. Not only is it not conducive to the solution of the essence of the problem, when we practice sketching, the whole process seems to be realized by hand operation, but the hand is dominated by the eyes, and how to observe the eyes is restricted and controlled by the way of thinking of the brain. So what kind of observation method will have what kind of performance results. Therefore, in sketch practice, it is not only required to train one's unarmed skills and accurate and keen eyesight, but more importantly, to cultivate a well-trained overall consciousness and comprehensive observation methods. As the name implies, the overall observation method is to have a comprehensive feeling and understanding of the overall appearance of the object to be expressed in sketch practice. The specific methods can be divided into the following two aspects.

1. Open your eyes and see the whole object at a glance, instead of focusing on a certain part of the whole object, as if staring at the whole object in a daze, but ignoring the details of each part. Because we can't focus on a certain part of the whole object, our vision is forced to get a clear and fuzzy overall impression, which is exactly what we want. In this overall feeling, we can easily feel the basic modeling characteristics, dynamics and demeanor, proportion, structure, appropriate contrast between light and shade and the relationship between reality and reality. When you look at the whole, all the superfluous things disappear, leaving only the necessary and basic things.

2. Comparative method. If the former method gets the overall impression, then this method will be a concrete supplement to the former method. It can get the exact relationship and connection between the parts of the whole object and the whole by comparing with each other. When observing and comparing, you can talk to yourself, ask yourself and answer yourself, just like talking to yourself silently. For example, the dynamics of this object is like this, its basic head characteristics and demeanor are like this, what are the positions of the five senses in the head, their respective characteristics, the size ratio, the shape transition between them, the contrast between light and shade and the relationship between reality and reality, and so on. Just like talking about yourself. In other words, before we started painting, we had already painted with our eyes in our minds, and we had the impression that we had finished our sketching homework. That's what the ancients said-make up your mind before you write-. If beginners can notice this and do it seriously, they will have clear learning methods and clear goals, so as to avoid detours and get twice the result with half the effort-the soul will be enlightened. Change the way that beginners usually focus on a certain detail of an object in isolation, and draw a little, and you can go where you draw. Or there is no correlation and no contrast in each part, which is very important for training and cultivating good artistic feeling and painting ability.

Composition: When we turn the image feeling we get when observing an object into a tangible picture, we need to arrange it properly on the sketch paper according to the author's intention through composition. Whether composition can give people a suitable and comfortable feeling visually is closely related to the arrangement of objects and the different feelings of personal choice. When you determine the best composition scheme and start to position the manuscript, you must see and find the most prominent points of the top, bottom, left and right shapes of the object to be represented, and then gently determine these four points in the top, bottom and left directions of the picture according to the basic large-scale characteristics of the object you feel and observe. And based on these four points on the map, the next step of contour drawing, such as adjusting the proportion of shapes, can only be limited by these four points. The four points on the screen are drawn by strokes, and these four points on the screen are taken as the boundaries. No matter how to draw the outline in the next step, it can only be carried out within the range set by these four points, and it is absolutely not allowed to expand beyond the boundaries at will. Some students don't pay much attention to this problem. Although at the beginning, the positions of the four protruding parts were found and determined during composition. However, with the deepening of the wheel knocking and the adjustment of the proportion of characters, people consciously or unconsciously crossed the border, resulting in the problem that the object is either more benevolent or too big to catch up with painting, and there is no room for objects in the West. Finally, either turn around and do it again, or feel the fly in the ointment.

Contour: Before we often say how to draw a contour, it is necessary for us to know what the so-called contour is. Some students will say that the outline is a needle and thread. This statement is not accurate and comprehensive enough. It should be said that the contour line is the edge of the body turning point. The edge of this turning point is enough to see the wheel twine. It is divided into outer wheel line and inner contour line, which are different because of the decent ups and downs of the car body itself. The edge lines at their respective turning points will also produce different clear left solid to hemp lines. For example, we will find this different change by observing the contour lines of the field ball and cube in simple geometry. Since simple shapes are all like this, what's more, how about people's hooks with complicated shapes? Therefore, no matter who can't see the shape, they can't draw the line correctly. When we know this principle, and then draw the so-called outline with lines, we will give it a convincing and expressive sense of rhythm, so as not to turn the outline into a cold iron frame lacking space and expressiveness. When drawing the outline, we should follow the method from task to part, and according to the specific feelings obtained when observing the silicon body. On drawing paper, long and low-profile straight lines are often used to gently draw the large basic shape characteristics of objects. In order to better capture the correct large shape, sometimes we can understand the handle by a generalization method similar to geometric shape, so that we can simply see and draw the most basic features of the overall shape of the object, such as determining what the basic shape of the object is, whether it is round, regular or irregular, and so on. What is its big dynamic and so on. ? While determining the large basic shape of an object, we should also pay attention to determining the position, proportion and characteristics of the main internal basic shapes, such as eyebrow arch, nose, bones and so on. Here, we should pay special attention to the cross line formed by the intersection of the middle line drawn from the nose and the eyes. Its height and inclination will determine the basic dynamic proportion of the head and the position of the five senses.

After the basic big shape, proportion and dynamic relationship are determined, the pictures must be placed in the distance for inspection. Because it is difficult for us to check whether the big basic shape, proportion and dynamics are correct in front of the picture. When the picture is pushed away, all the details become less clear locally. This makes it easier for us to see the dynamic relationship of the whole body proportion at a glance, rather than a certain part. When checking, we can adopt the following two methods:

1, it's best to put the picture next to the object to be painted, and don't look at your own picture first. Instead, you should use the observation method in the first step of sketch practice to feel the object you are facing, and then quickly turn your attention to your own picture, but you must remember that it is the baby who sees the picture, not a detail of the object in the picture. At this time, if you correctly capture the basic large-scale relationship in painting, the feeling of the object in your visual impression will be consistent with the shape of the object in the picture. If you don't capture the basic large-scale relationship correctly, it will immediately make the visual residual image you feel deviate from the shape in the picture. If this kind of nuclear error is equivalent to shape, then the basic shape, dynamics and scale you draw are all wrong. For example, the basic characteristic shape of the head of an object is wrong. If this phenomenon occurs in a certain part, you will find that the proportional position of the objects in the painting, such as eyes, nose, middle mouth or any other shape, is high, low, big, small, too much or not enough, and so on. In order to confirm the reliability of this error protection phenomenon, you can check it several times in this way. Once the above problems are confirmed, the player will not hesitate to take the face to the front to modify it. Then put the painting in the distance and check it in the same way until the overall sensory afterimage of the object matches the large-scale relationship of the object in the picture. After the first method is used to determine the basic shape of a large object, in order to further check the accuracy of the corrected shape, especially to have a reliable basis to confirm the specific position points of some shapes, we can use vertical or horizontal auxiliary lines to check the outline. When using this relatively ideal method, which is somewhat similar to marking a certain azimuth point with latitude and longitude on a map, you should try to sit up straight, and it is best to face up to the object. We should draw a vertical or horizontal line on the assumption that our eyes are clear, which can be used to measure and correct the proportion and dynamics of objects and pictures. For example, when using a vertical line, we can determine which shapes are located on this hateful vertical line and which ones are to the left or below it. If we use a horizontal line-,we can start from a point on the left of the object and extend parallel to the right of the object. Through it, we can determine which shapes are parallel to it, which are above or below it, and so on. -Vertical line from here to here, horizontal line from here to here. Visible objects are so inclined. In this way, the first sensibility. The method of correcting the shape by post-image inspection has a more reliable and accurate basis.

In addition, students who have just come into contact with painting mainly rely on feelings to observe and compare when nailing the outline, and focus on strengthening the training of vision, so that it can judge the distance more accurately than straightedge or bipedal gauge. But sometimes we also need to use the pencil in our hands to determine and correct the shape. It can not only be used for vertical or horizontal inspection methods, but also be used to determine the relationship between the proportion of human body and the length and distance of each part of the object. When using, the arm should be as straight as possible, with the top of the pen as the upper point and the thumb tip on the pencil shaft as the lower point to measure the position and check the corrected shape. If you want to measure a plaster statue with a body and a seat, you should first measure the length from the top of your head to your chin in this way, and then measure the length from your chin to the base along the pencil shaft. In this way, we can determine the proportion of the head in the whole plaster statue. At the same time, we can also use this method to determine whether the shapes of eyes, nose and mouth should be in a fraction of the whole head. It's just that we should always remind ourselves that painting is a visual art, which mainly depends on feeling rather than rationality, so it can be said that the so-called accuracy it requires is relative to visual sense, not absolute in mathematical sense. If I rely too much on pencil or other tools to measure the left and right, the female image is not painting, but seems to be making a mapping.

In addition, there are some technical problems that need to be paid attention to when sketching. For example, the pencil used when striking 4B should be slightly smaller, the nib can be cut longer, and the hand should be as far away from the nib as possible when holding the pen. In this way, the lines drawn by the pencil gently float on the sketch paper. If there is any mistake, you need to modify your elbow, and use a soft cloth or handkerchief to pat off the lead powder before drawing. Don't scratch the surface texture of the paper with a large number of erasers too early, which will affect the effect of deep drawing and completion in the future. In a word, sketching is a key step in the whole process of sketching. If the requirements are not strict, it is like a building without a good and reliable structural foundation. So at this stage, please be sure to do it in strict accordance with the requirements. Only in this way can we ensure the smooth progress of the next process. Remember: a good beginning will guarantee success.

Depth description: there are two aspects to pay attention to at this stage: the first is where to start the depth; The second is how to go deep.

1 ... Although it is a complete object composed of several indispensable parts, relative to the whole, they all have the relationship between subject and object. Therefore, when we describe people in depth, we can't treat them equally-treat them equally, and there will be a situation of usurping the role of master. First of all, we should grasp the main part of the whole object that best embodies the characteristics of form and spirit. Grasping and grasping this primary and secondary relationship is actually to solve an observation method problem. Its observation method is still to see all the objects to be expressed at a glance with the whole eye consciousness, and then grasp and jump into your eyes at once according to the most prominent, clearest and strongest contrast obtained from the overall feeling, starting from the part where you have a strong desire to express. If you find it difficult or uncertain to do this, you can also do it by comparison. That is to say, by comparing all parts of the whole object to determine the primary and secondary relationship, so as to make a thorough description.

2. When we know where to deepen people first, the next step is to read clearly how to deepen people. The process of in-depth description not only requires the generalized decent relationship shown in shaping the relationship to gradually shift from various small turning points, but also enriches and concretizes the relatively simple body itself and the contextual relationship between them. At the same time, it is necessary to describe and express the unique facial expression, temperament, quality, quantity, light and space of the object through different processing methods. So as to achieve the effect that we can see with the naked eye.

However, when we deeply depict the body, especially the plaster or head of a character, if we lack an understanding of the anatomy of its internal skeleton and muscle structure, especially when we are a little far away from the object, we will rely too much on what our eyes see, which will make the body in the picture empty, floating and fragmented. At the same time, it is also prone to the naturalistic tendency of "painting a tiger according to a cat". For example, truthfully describe some unimportant dirty spots and scars of objects or mold stitches left during plaster casting, thus embarking on the photographer's-photography-road. It is difficult to correctly display the physical relationship of the object reality. Therefore, the necessary anatomical knowledge can help us to understand and show the essence of the internal muscle and bone shackles that dominate the appearance through the epidermal phenomenon. Sometimes, in order to understand and analyze the turning ups and downs of the body structure more clearly and concretely, we can approach the object and observe it. So as not to be deceived by some seemingly accidental phenomena. Therefore, the more you know, the more you see, the more real you are. The more convincing this painting is.

Of course, while paying attention to understanding and analysis, we can't ignore the factors of feeling. For example, the expression of texture, in addition to the understanding of the body of the object itself, should also show a special texture. Such as skin, bones, hair, cotton cloth, pottery, glass, metal, etc. The Ministry needs to adopt corresponding treatment methods through keen feeling, showing various inherent color textures that are elastic, hard, fluffy, rough, smooth and delicate, so that the objects in the painting are flesh and blood, turned over like life, and achieved the charming feeling of truth and beauty. If you get too caught up in rational analysis, it will naturally be impressive.

When carving a deep figure, we should pour symmetrical body parts. For example, when drawing the left eye, pay attention to the relationship between the right eye and the right plate bone when drawing the left pedicle. If you only draw one side and ignore the other side, it is easy to have problems of local isolation and inability to connect.

Also called full relationship, it is the last procedure we outlined. In the immediate painting process, although we constantly emphasize the overall consciousness, each procedure must have specific key tendencies and problems to be solved, especially in the deep-seated part. Naturally, there are many factors that need to be understood and analyzed in order to shape the object in detail, so it will inevitably expose the phenomenon of local destruction or influence on our sense of hull. This requires us to check and adjust the whole picture-from part to whole-before the sketch is completed.

First of all, in order to keep your mind clean and have a good sense of keenness so as to find problems and make adjustments smoothly, it is best to leave the picture for a few minutes, go outside and look at the distance, relax your brain and rest your eyes. Because long-term observation, understanding, analysis and painting will make the senses and thinking judgment ability dull and numb due to fatigue, it is naturally difficult to find problems and make adjustments in this state.

Secondly, when tuning, the picture must be put farther away. Even some experienced painters often look at the painting from a distance in order to ensure the overall effect of the picture. Sometimes, due to the limitation of space, we will borrow a reducing mirror for inspection. Some students ignored this question, and as soon as they sat down, it seemed that they couldn't bear to get up and put the picture far away to check if there was any problem. Don't you know that you must stand up at the end of the painting?

Look into the distance! Only. Only by taking the lead can people watch it closely and taste its subtlety and wonder. If not, it seems that sitting in front of the painting is wonderful and impeccable in shaping the big relations and small details, but in the end, looking back, the problem is exposed. At least the relationship must have been drawn or drawn away. Therefore, I hope that when students do sketch exercises, they should not only be busy with their brains, hands, legs and feet, but also be diligent.

Specific observation and adjustment to. Take a quick look at all the sensitivities with the first impression, but enrich it through analysis. -Do your best to restore the strong first impression you got when you found the observed object before painting, and check how this impression is expressed in the upcoming sketch exercise? For example, shape, spirit, body mass, texture or space are the most important, profound and intense things that give you a feeling? So, there is a saying-genius is at both ends, and effort is in the middle-