毕业论文-包头景苑小区高层地下室大体积混凝土施工技术.doc

包头景苑小区高层地下室大体积混凝土施工技术摘 要：包头景苑小区高层地下室混凝土工程。施工正处于天气较热的7月中旬，混凝土施工会由于其水灰比大，内外温差、收缩、变形等而引起伸缩裂缝。为确保本工程大体积混凝土的施工质量，编写本施工技术。主要采用 “内降外保”法。“内降”即砼施工前在 结构内部预埋冷却水管，通过循环水对砼内部进行降温控制；“外保”既表面覆盖塑料布和草袋子进行保温。在今后大体积混凝土施工过程中，只要采取切实可行的施工措施，保证混凝土内表温差及降温速度在允许范围之内，完全可以避免大体积混凝土温度裂缝的产生。关键词：地下室混凝土施工、大体积混凝土、质量控制目 录1、工程概况42、施工准备42.1配合比设计42.2原材料52.3混凝土63、施工工艺63.1 混凝土浇筑方法 63.2混凝土振捣93.3 泌水处理 93.4 混凝土表面处理 93.5 混凝土保温养护 94、施工质量控制 104.1砼温度监测104.2测温点布置及测温105、底板混凝土质量评定115.1 强度检测115.2 混凝土匀质性检测116、混凝土裂缝产生的原理 116.1 水泥水化热的影响116.2 混凝土的收缩裂缝126.3 外界气温变化影响127、防止大体积混凝土裂缝的主要施工措施 127.1 严格控制内外温差127.2 降低水泥水化热127.3 施工工艺及其他措施138、结束语13参考文献15引 言 近年来，随着建筑行业的迅猛发展，大体积混凝土得到了越来越广泛的应用，如混凝土大坝、高层建筑的地下室混凝土底板都是用大体积混凝土浇筑而成的。但在建造和使用过程中，有关因出现裂缝而影响工程的质量甚至导致结构垮塌的事故也时有发生合理选择施工材料，优化混凝土配合比的目的是使混凝土具有较大的抗裂能力。在工业与民用建筑工程的大体积混凝土施工中，由于水泥水化热引起混凝土浇筑体内部温度剧烈变化，使混凝土建筑体早期塑性收缩和混凝土硬化过程中的收缩增大，使混凝土浇筑体内部的温度收缩应力剧烈变休化，而导致混凝土浇筑体或构件发生裂缝的现象并不罕见。因此在施工过程中控制大体积混凝土施工裂缝，显得成为重要。1、工程概况包头景苑小区高层地下室工程位于友谊大街金荣建材城南侧，工程结构为钢筋混凝土剪力墙结构，共十二层；地下室为混凝土筏板式基础，底板面积为1847m2,混凝土量为2032 m3 ，混凝土强度等级C25。2、施工准备2.1配合比设计大体积混凝土配合比选择时应考虑的是施工用混凝土配合比在满足设计要求及施工工艺要求的前提下，应尽量减少水泥用量，以降低混凝土的绝热温升，这样就可以使混凝土浇筑后的内外温差和降温速度控制的难度降低，也可以降低养护的费用。选用低水化热的水泥，降低混凝土中水泥和水的用量；掺粉煤灰，改善混凝土的粘塑性，降低水化热。大体积混凝土配合比的确定应符合下列规定：混凝土配合比应通过计算和试配确定，对泵送混凝土还应进行泵送试验；混凝土配合比设计方法应按现行的普通混凝土配合比设计技术规程执行；混凝土的强度应符合国家现行的混凝土强度检验评定标准的有关规定；在确定混凝土配合比时，还应根据混凝土的绝热温升值、温度及裂缝控制的要求，提出必要的砂、石料和拌和用水的降温、人模温度控制的技术措施。配制混凝土所用的水泥，应符合下列现行的国家标准：硅酸盐水泥、普通硅酸盐水泥；矿渣硅酸盐水泥、火山灰质硅酸盐水泥和粉煤灰硅酸盐水泥。当采用其他品种水泥时，其性能指标必须符合有关标准的要求。应优先采用水化热低的矿渣水泥配制大体积混凝土，当混凝土的强度等级为C20或C20以上时，宜采用325级的矿渣硅酸盐水泥；也可用425级水泥，但注意用量。对大体积混凝土所用的水泥，应进行水化热测定，水泥水化热的测定按现行国家标准水泥水化热试验方法(直接法)进行，配制混凝士所用水泥7天的水化热不宜大于250kJkg。大体积混凝土所用骨料的选择与质量应符合下列规定：粗骨料种类应按基础设计的要求确定，其质量除应符合现行标准普通混凝土所用碎石或卵石质量标准及检验方法的规定外，其含泥量应不大于15；细骨料宜采用天然砂，其质星应符合现行标准普通混凝土用砂质量标准及检验方法的规定。混凝土中掺用的外加剂及混合料应符合下列规定：在混凝土中掺用的外加剂及混合料的品种和掺量，应通过试验确定；所用外加剂的质量应符合现行混凝土外加剂质量标准的要求，混凝土外加剂的应用，应符合现行国家标准混凝土外加剂应用技术规范的规定：当混凝土中掺入粉煤灰时，其质量应符合现行国家标准用于水泥和混凝土中的粉煤灰的规定：其应用应符合建设部标准粉煤灰在混凝土和砂浆中应用技术规程的规定。当使用其他材料作为混合料时，其质量和使用方法应符合有关标准的要求。2.2 原材料选用低水化热32.5的矿渣硅酸盐水泥；石子采用531.5mm碎石，含泥量控制在1之内；砂子采用中砂，含泥量不大于1；粉煤灰采用质量信的过的生产厂家出产的优质粉煤灰。粉煤灰具有火山灰活性效应，在混凝土中掺入粉煤灰可以提高混凝土的密实性。龄期越长，反应越完全，混凝土越密实，混凝土的强度也越高。同时，粉煤灰具有胶凝作用和减水作用。在混凝土中掺加粉煤灰，改善了混凝土的和易性，降低了水灰比，减少了多余水份蒸发后开成的孔隙，粉煤灰取代部分水泥后，早期水化热明显降低。外加剂采用建材有限公司生产的JC-C3复合泵送剂，掺量为水泥用量的8%。2.3 混凝土采用商品砼。混凝土的技术要求：混凝土等级：C 25混凝土坍落度：142混凝土初凝时间：1012小时水灰比：0.5以下3、施工工艺3.1混凝土浇筑方法根据施工工艺总的要求及施工机械力量的配置，浇筑采用斜面分层，一次平仓连续施工方法，各浇筑带齐头并进，互相搭接，确保各浇筑带之间上下层混凝土的结合。水平施工缝的处理符合下列要求：清除表面的浮浆、软弱混凝土层及松动的石子，并均匀的露出粗骨料；在上层混凝土浇筑前，应用压力水冲洗混凝土表面的污物，充分湿润，但不得有积水；在浇筑上层混凝土时，采取接浆措施。3.1.1混凝土的浇筑方法可采用分层连续浇筑或推移式连续浇筑，不得随意留施工缝，并符合下列规定：混凝土的摊铺厚度应根据所用振捣器的作用深度及混凝土的和易性确定。当采用泵送混凝士时，混凝土的摊铺厚度不宜大于600mm,当采用非泵送混凝土时，混凝土的摊铺厚度不宜大于400mm。分层连续浇筑或推移式连续浇筑，其层间的间隔时间应尽量缩短，必须在前层混凝土初凝之前，将其次层混凝土浇筑完毕。层间最长的时间间隔应不大于混凝土的初凝时间。混凝士的初凝时间应通过试验确定。当层间间隔时间超过混凝土的初凝时间时，层面应按施工缝处理。对于工程量较大、浇筑面积也大、一次连续浇筑层厚度不大(般不超过3m)，且浇筑能力不足时的混凝土工程，宜采用推移式连续浇筑法。分层连续浇筑法是目前大体积混凝土施工中普遍采用的方法。分层连续浇筑一是便于振捣，易保证混凝土的浇筑质量：二是可利用混凝土层面散热，对降低大体积混凝土浇筑块的温升有利。3.1.2大体积混凝土施工采取分层浇筑混凝土时，水平施工缝的处理应符合下列规定：清除浇筑表面的浮浆、软弱混凝土层及松动的石子，并均匀的露出粗骨料：在上层混凝土浇筑前，应用压力水冲洗混凝土表面的污物，充分湿润，但不得有积水：对非泵送及低流动度混凝士，在浇筑上层混凝土时，应采取接浆措施。3.1.3混凝土的拌制、运输必须满足连续浇筑施工以及尽量降低混凝土出罐温度等方面的要求，并应符合下列规定：当炎热季节浇筑大体积混凝时，混凝土搅拌场、站宜对砂、石骨料采取遮阳、降温措施；当采用自备搅拌站时，搅拌站应尽量靠近混凝土浇筑地点，以缩短水平运输距离；当采用泵送混凝土施工时，混凝土的运输宜采用混凝土搅拌运输车。混凝土搅拌运输车的数量应满足混凝土连续浇筑的要求。在混凝土浇筑过程中，应及时清除混凝土表面的泌水。在大体积混凝土浇筑过程中，由于混凝土表面泌水现象普遍存在，为保证混凝土的浇筑质量，要及时清除混凝土表面泌水。因为泵送混凝土的水灰比一般比较大，泌水现象也比较严重，不及时清除，将会降低结构的混凝土质量。在每次混凝土浇筑完毕后，应及时按温控技术措施的要求进行保温养护，并应符合下列规定：保温养护措施，应使混凝土浇筑块体的内外温差及降温速度满足湿控指标的要求；保温养护的持续时间，应根据温度应力(包括混凝土收缩产生的应力)加以控制、确定，但不得少于15天。保温覆盖层的拆除应分层逐步进行；保温养护过程中，应保持混凝土表面的湿润。保温养护是大体积混凝土旌工的关键环节。保温养护的目的主要是降低大体积混凝土浇筑块体的内外温差值以降低温凝土块体的温度应力，其次是降低大体积混凝土浇筑块体的降温速度，充分利用混凝土的抗拉强度，以提高混凝土块体承受温度应力时的抗裂能力，达到防止或控制温度裂缝的目的。同时，在养护过程中保持良好湿度和防风条件，使混凝土在良好的环境下养护，施工人员应根据事先确定的温控指标的要求，来确定大体积混凝土浇筑后的养护措施。混凝土浇筑后46,b时内可能在表面上出现塑性裂缝，可采取二次压光或二次浇灌层处理。塑料薄膜、草袋锯末等可作为保温材料覆盖混凝土和模板，在寒冷季节可搭设挡风保温棚。覆盖层的厚度应根据温控指标的要求计算。具有保温性能良好的材料可以用于混凝土的保温养护中。在大体积混凝土施工时，可因地制宜地采用保温性能好而又便宜的材料用作大体积混凝土的保温养护中。在大体积混凝土保温养护过程中，应对混凝土浇筑块体的内外温差和降温速度进行监测，根据现场实测结果可随时掌握与温控施工控制数据有关的数据(内外温差、最高温升及降温速度等)，可根据这些实测结果调整保温养护措施以满足温控指标的要求。在大体积混凝土养护过程中，不得采用强制、不均匀的降温措施。否则，易使大体积混凝土产生裂缝。大体积混凝土施工时，主要采用钢模和本模。当采用钢模时，根据保温养护的需要，钢模外也应采取保温措施，当采用木模时，可把木模作为保温材料考虑。无论钢模、木模在模板拆除后，都应根据大体积混凝土浇筑块体内部实际的温度场情况，按温控指标的要求采取必要的保温措施。3.2混凝土振捣根据混凝土泵送时自然形成的流淌坡度，沿坡度布3道振动棒，第1道在混凝土卸料处，负责出管混凝土振捣密实，第2道庆在斜面中部，第3道设在坡脚处，确保下部混凝土密实，振捣时严格控制振动棒移动的距离，特别要注意混凝土的入仓振捣，防止离析和漏振。3.3泌水处理在垫层施工时，预先在横向上做一定的坡度，使大部分泌水顺垫层坡度流到周边排水沟，少量来不及排除的泌水随着混凝土浇筑向前推进补补赶到基坑顶端，再由顶端模板下部的预留孔排至周边排水沟。3.4混凝土表面处理混凝土浇捣至标高后，先用木长尺抹平，将泌水赶走，初凝后至终凝前，用铁滚筒碾2遍，再用木蟹打磨压实，以避免表面干缩裂缝。3.5混凝土保温养护保温养护是大体积混凝土施工的关键环节。保温养护的目的主要是降低大体积混凝土浇筑块体的内外温差值以降低温凝土块体的温度应力，其次是降低大体积混凝土浇筑块体的降温速度，充分利用混凝土的抗拉强度，以提高混凝土块体承受温度应力时的抗裂能力，达到防止或控制温度裂缝的目的。在混凝土表面采取塑料薄膜与麻袋相同覆盖的办法，即2层塑料薄膜，2层麻袋，四周外模覆盖1层塑料薄膜、1层麻袋。保温养护的时间，根据温度应力（包括混凝土收缩产生的应力）加以控制，确定，但不少于15天。设专门班组进行保温保湿养护，并注意洒水淋湿麻袋即可。养护层的增减根据温差情况及降温速率而定，特别是混凝土升温和早期降温过程中要加强保温养护，即双层保温养护，在降温中期可采取单层保温养护。保温覆盖层的拆除分层逐步进行，保温养护过程中，保持混凝土表面的湿润。4、施工质量控制大体积混凝土工程温控施工的核心是从大体积混凝土施工的各个环节控制混凝土浇筑块体内部温度及其变化，以达到控制混凝土浇筑块体温度裂缝的目的。4.1砼温度监测在砼强度增长过程中实测温度应符合如下要求：砼内外温差控制在25以内。撤除保温层时，砼表面与大气温差不大于25。如上述指标偏离时，及时调整保温覆盖材料层数来减小温差。4.2测温点布置及测温根据结构具体情况，测温点在整个结构施工区每个应力较集中的部位布置三个点。测温管用50钢管制作，外露200mm.。测温砼浇筑后2小时开始测温，前2天每2小时测一次，2天后至第5天每4小时测一次，第5天至第7天每12小时测一次，七天后砼表面与大气温差不大于25时停止测温，每次测温要做好记录，每个部位取上、中、下部各一个数据。使用普通温度计测温：测温管端部用软木封堵，只许在放置或取出温度计时打开，温度计应系线绳垂吊到管底，停留时间不少于3min，取出迅速查看温度。测温人员分三个组，每个组两个人，24小时轮班测温。测温记录本挂在施工现场，以便现场管理人员随时进行检查。5、底板混凝土质量评定5.1强度检测为检测底板混凝土强度，采用钻芯取样方法，从底板的不同部位抽取4个点，每点分别于30d、60d龄期取样试压，两次混凝土抗压强度分别为48.8Mpa和53.3Mpa，混凝土各项指标均满足设计要求。5.2混凝土匀质性检测为确定混凝土内部是否存在质量缺陷和混凝土骨料分布匀质性，在底板不同部位随机抽取3个点，对样本进行观测，结果：混凝土芯样完整，且表面光滑，粗细骨料分布均匀，级配合理，混凝土表观质量优良。6、混凝土裂缝产生的原理大体积混凝土结构裂缝的发生是众多的因素引起的，各类裂缝的主要影响因素有：6.1水泥水化热的影响水泥水化过程中要产生大量的水化热，由于大体积混凝土截面厚度大，水化热聚焦内部，不易散失，导致大体种混凝土内部急聚温升，时间大多发生在混凝土浇筑后3d-5d，因混凝土导热性能差，初期混凝土弹性模量和强度低，而混凝土表面散热较快，就形成内外温度差异较大，由于内外热胀冷缩的程度不同，随着混凝土龄期的增长，使混凝土表面产生一定的拉应力，当拉应力超过混凝土的抗拉强度极限值时，混凝土表面便开始产生温度裂缝。6.2混凝土的收缩裂缝混凝土在空气中硬结时体积会减压少而收缩，混凝土在不受外力影响情况下产生自发变形，受到外部约束时，将在混凝土中产生拉应力，使得混凝土开裂。引起混凝土收缩裂缝主要有塑性收缩、干燥收缩和温度收缩等三种。在混凝土硬化初期主要是碳化过程收缩，浇筑后的混凝土，在空气中的二氧化碳与中泥中的钙起化学反应，生成的碳酸钙，放出的结合水使混凝土产生收缩，后期主要是内部自由水分蒸发而引起的干缩变形，而表面的干燥收缩快，中以干燥收缩慢，表面的干燥收缩受到中心部位的约束，因而在表面产生的拉应力而出现裂缝。6.3外界气温变化影响大体积混凝土结构在施工期间，外界气温的变化对防止大体积混凝土的绝热温升和结构的散热温度等各种温度的叠加之和。浇筑温度和外界气温有着直接关系，外界温度愈高，混凝土浇筑温度也愈高；如外界温度下降，会增加混凝土温度梯度，特别是气温聚降，会大大增加外层混凝土与内部混凝土的温度梯度，因而会造成大温差和温度应力，使大体积混凝土出现裂缝。另外外界湿度也会对混凝土裂缝产生影响，外界温度降低会加速混凝土的干缩，也会导致混凝土裂缝的产生。7、防止大体积混凝土裂缝的主要施工措施7.1严格控制内外温差严格控制内外温差加强养护、防止产生贯穿性裂缝和有害裂缝，采取混凝土表面所保温覆盖材料厚度。7.2降低水泥水化热减少水泥用量，采用42.5级水泥，用量控制在310kg以内。掺粉煤灰取代等量水泥，粉煤灰用后期强度增长高的特点，对降低混凝土的最高温度，减少混凝土的泌水起到了有效作用。掺缓凝高效减水剂，使初凝时间延迟约在8-10h，延缓水化热峰值期。选用性能好的HEA微膨胀剂，减少混凝土收缩而裂缝。选用级配良好的粗骨料5-40碎石，进行冲水并覆盖，降低骨料温度。提高砼的极根拉伸强度控制石子、砂的含泥量不超过1%和3%，选择级配良好的粗骨料，加强砼的振捣，提高砼的密实度和抗拉强度，减少收缩变形，保证施工质量，采用二次振捣法，浇筑时应及时排除砼表面的积水（泌水产生的），及时对砼表面进行覆盖养护，提高砼的早期强度。7.3施工工艺及其他措施采用平面分层浇筑法，每层浇筑百度为500mm，砼浇筑均匀上升，便于砼散热，应避免砼拌合物堆积。安排专人对砼进行坍落度、砼现场温度进行测量，当砼进入现场后及时进行测温，若温度大于27度，则要求砼公司给予退场处理，砼公司应疫专人值班，并同时做好原材料的降温措施执行检查。加强测温管理，严格控制砼的内外温差在25度以内，由专人对砼测温记录。合理的进行施工平面布置，确定好浇筑顺序，所需的泵车能力和数量，布置好泵车位置和泵车铺设，以保证施工过程有条不紊。养护时间一般为大于14天，此时混凝土自身抗拉强度已大于温降产生的拉应力，同时要保证混凝土表面温度与大气温度接近，大气温度与中心温度不大于20时，可停止测温，撤除保温。8、结束语大体积混凝土的施工技术，涉及到经济、技术、设计、管理、施工等诸多方面。要想保证大体积混凝土的施工质量，需要建设单位、设计单位、施工单位、材料供应商等单位的综合管理、科学组织、合理安排、严格执行。本文通过对大体积混凝土结构裂缝的分析，找出导致裂缝的主要原因是由于水泥水化热升高使混凝土温度变化产生的温度应力造成大体积混凝土产生裂缝。地下室底板大体积混凝土根据设计要求及现场实际施工条件，结合其结构特点，砼浇注采用分层浇筑混凝土施工方法。通过测温结果，冷却水管对砼内部的降温控制起到了很好的效果，混凝土中心最高温度值为48（50.76），内表温差控制在25以内。通过对混凝土内部温度的控制及对混凝土表面覆盖养护，地下室底板混凝土无一处有害裂缝，质量达到优良。在今后大体积混凝土施工过程中，只要采取切实可行的施工措施，保证混凝土内表温差及降温速度在允许范围之内，完全可以避免大体积混凝土温度裂缝的产生。参 考 文 献【1】刘长滨、赵志缙，建筑工程施工手册第四版M，北京，中国建筑工业出版社，2004年【2】徐有邻、程志军，混凝土结构工程施工质量验收规范S，北京，中国计划出版社，2002年【3】桂业琨、叶柏荣，高层建筑基础工程施工M，北京，中国建筑工业出版社，1996年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 a