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[T0045]七层7000平米框架结构教学楼设计

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关键词：: t0045 平米框架结构教学楼设计

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摘要

本次毕业设计的目的是对大学四年以来所学的知识进行一次系统的复习和总结，以检验四年来对专业知识的掌握程度，同时能进一步巩固和系统化所学的知识，为今后的学习工作打下良好的基础。

本设计为XX学院建工系教学楼。该工程的建筑面积7235，共7层，一层层高为3.6m，二层以上层高为3.3m，结构形式为钢筋混凝土框架结构，抗震要求为7度设防。

设计内容包括建筑设计和结构设计，结构设计时取第②轴横向框架进行计算。本论文包括以下内容：

一结构方案的确定。

二荷载计算，包括恒载、活载、风荷载和地震作用。

三横向框架内力计算、内力组合及截面设计。

四现浇板，楼梯和基础的计算。

五结束语和参考文献。

该设计具有以下特点：

一在考虑建筑，结构要求的同时考虑了施工要求及可行性。

二针对不同的荷载特点采用不同的计算方法，对所学知识进行了系统全面的复习。

三框架计算中运用了理论公式计算又运用了当前工程设计中常用的近似计算方法。

关键词：建筑设计结构设计钢筋混凝土框架结构

荷载内力截面设计

Abstract

This article is to explain a design of a 7-storey-teaching building in Huanghe Science and Technology shool.The building is reinforced concrete frame structure. will a the layer settle to 3.3m, two above story high of layerses settle to 3.3 and the total area is 7235 square meters.The thesis is written for the whole process of the complete design program,including the following parts:

1.Determination of the structure.

2.The calculation of Load,including dead load,live load,wind load and earthquake load.

3.Interior force calculation and,consititute of the lateral frame and the cross sections design of the components.

4.The structural design of foundation ,stair and slabs.

5 . The end words and the references.

The thesis is of some own characters:

1.With the consideration of architecture and structure requirements,it also considers the construction requirements and feasibility.

2.It applies different methods of structural calculation,aiming to different loads.

3.It applies theories formulation and practical formulation in the calculation of certain framework.

Keywords： architectural design structural design

reinforced concrete frame structure

load interior force cross sections’ design

摘要I

AbstractII

1 工程概况1

1.1工程概述1

1.2结构设计依据1

1.3材料选用1

2 建筑设计2

2.1 建筑平面设计2

2.2 建筑立面设计2

2.3 屋顶设计2

3 结构方案的选择及结构布置4

3.1结构方案4

3.2结构布置4

3.3柱网尺寸及层高5

3.4梁、柱截面尺寸的初步确定5

3.5楼板选择6

3.6结构横向框架的计算简图6

4 竖向荷载作用下的内力计算7

4.1计算单元：7

4.2恒荷载计算7

4.3活荷载计算11

4.4恒荷载作用下的内力计算12

4.5活荷载作用下的内力计算23

5 横向荷载作用下的内力计算32

5.1横向框架侧移刚度的计算32

5.2重力荷载代表值的计算37

5.3横向水平地震荷载作用下框架结构的内力和侧移计算43

5.4横向风荷载作用下框架结构内力和侧移计算53

6 内力调整59

6.1竖向荷载作用下的梁端弯矩调幅59

6.2框架梁内力折算至柱边60

6.3柱的内力调整63

7 内力组合及截面设计66

7.1内力组合66

7.2截面设计75

8 楼板设计90

8.1楼板类型及设计方法的选择：90

8.2设计参数90

8.3弯矩计算91

8.4截面设计95

9 楼梯设计98

9.1设计资料98

9.2梯段板设计98

9.3平台板设计100

9.4平台梁的设计101

10 基础设计103

10.1设计资料103

10.2设计计算103

参考文献106

致谢107

1 工程概况

1.1工程概述

建筑地点：郑州市XX科技学院南校区

建筑类型：七层教学楼，现浇框架填充墙结构。

工程简介：场地面积为45×35m2左右，拟建建筑面积约7000 m2。楼盖及屋盖均采用钢筋混凝土框架结构，现浇楼板厚度取为100mm，填充墙采用200厚蒸压粉煤灰加气混凝土砌块。基础采用柱下独立基础。

门窗使用：大门采用玻璃门，其它的为木门，一般门洞尺寸为1200mm2100mm，窗全部为铝合金窗，高为1.5mm

地质条件：经过地质勘探部门的确定，拟建场地土类型为中软场地土，II类建筑场地，地震设防烈度为7度。

1.2结构设计依据

建筑抗震设计规范GB 50011－2012

建筑地基基础设计规范GB 50007－2012

混凝土结构设计规范GB 50010－2012

建筑结构荷载规范GB 50009－2012

建筑结构制图标准GB/T 50105－2010

建筑制图标准GB/T 50104－2010

建筑构、配件标准图集

QQ截图20150613103322.jpg

QQ截图20150613103330.jpg

QQ截图20150613103345.jpg

QQ截图20150613103353.jpg

QQ截图20150613103406.jpg

QQ截图20150613103416.jpg

建施毕业设计_t3.jpg

结施毕业设计.jpg

楼梯配筋详图3.jpg

内容简介：: Are we architects free?Are we architects free from society ? Can we exist out of any specific time and space , in another expression? Questions such as these set the tone of our inquiry into Itos architecture. After all , unless we look into his architectural characteristics in close relation to the subject of time and space ,we will end up grasping only the surface of the content .Toyo Ito is an architect whose practice is based in Japan at the dawn of a new millennium. Like most of the well-known Janpanese architects, he did not study abroad but went to School of Architectural Engineering at Tokyo University. He set up his own office after working at an architectural firm for a few years upon graduation. He has been in private practice based in Tokyo since then .I am not sure whether it is necessary to recall you the statement of EH.Carrs,”What is history ?” as the process of design in architecture could be an outcome of concersations carried out continuously with his surroundings. I am not here to remind you that an architect is a product of his generation that represents the spirit of the era but to point out that a study of an architects work without full comprehension of the period and time he has led his life is pointless. But then ,a series of mistakes we commit during our study on an architect ,Toyo Ito ,and his work very ofen stems directly from the very outset. Such errors that we easily for apply to Japanese architecture in general not simply limited to him alone. One of them is our presumption that we live in the same period as he does and the other is come from our misled conception that life in Tokyo or Japan is almost identical to that in Seoul Korea.These are nothing more than our gesture of guessing the content of a big filled only with misconceptions so long as our knowledge of Japanese architecture is only skin deep. Despite the proximity of the two countries , what believe is that Japan and Korea are two completely different countries in reality. We acknowledge discrepancies of customs and culture of a country in Africa, taken as an example, without any resistance because we accept as facts from the very beginning that they belong to the people dont look like us at all. But then, just for the reason that they look alike and live near us, we start right from the start with a false assumption that these of Japan would be similar to ours if not identical. I dare to say that Japan, I know of, is a country as foreign as any country in Africa. Of course, it doesnt mean that I disapprove or disregard similarities in so many areas but simply says the fact that both similarities and disparities exist. Architecture as a part of our life, is bound to reflect our life and therefore, architecture of the two countries will produce different products so long as there is even a single dissimilarity between them. It is right here that we cannot escape from making an error when we see the formal or technical aspects of Japanese architecture. In Korea , a house is one of the primary commodities in most families , a subject of our speculation ,and a place to relax but that is not the case in Japan. To them , a house is only a space to sleep in, a sort of a restaurant to have mills, or a place to stop by. Such disparity of the two countries has something to do with how Japan was modernized. Space they never could own has become a temporary shelter only and such a view drives them to look for the functions used to be those of their homes outside their homes including symbolical one of traditional homes. And therefore, it turns into a process of having those functions realized in imagination or reality. Also just because we live the same era doesnt mean that we share the time together. Who could dare to say that people on the earth today live in the same era? After all, we occupy different time and space, although we live nearby. Therefore, knowing the architecture of Ito must be accompanied by comprehension of the time and space he leads his life at the same time. Beyond year 2000A new millenium is right at the corner. To many architects as well as I who have been anxious to the beginning of the next millenium , it is a point that demands changes in our thought. As important as ，nowis the next. Mediatheque project in Sendai is one that falls into this category of the future. I cannot wait for the day of its completion that is under construction right now. Scheduled to be open next year that the new millenium commences, this building has aroused the interest of many architects and critiques since the day it won the competition .They finally witnessed a new solution to the issues that the field of architecture has challenged for thousands of years without success such as the boundaries in space between structure and architecture and the internal layout of building plans. Actually, mediatheque project in Sendai was conceived from a very straightforward and simple concept. Viewed from the exterior of the building , it is typical cubicshaped building overall. However, on a closer look, we find the three elements that compose the building. The three elements are as follow：I）Plans, not two of them identical, with their own functions.2）Thirteen steel tubes playing the role of vertical cores, structural supports, and shafts for mechanical ducts.3）The glazing layer or the skin of the building which wraps the content around while linking the interior to the exterior. The building is made up of seven floors that contain all the function elements of the building are piled up on top of one another and the thirteen tubes penetrates them. Boundaries among structure, mechanical elements, and functions of the building are obliterated but intermingled in this building. Each floor plate is given its own spatial character accord- ing to the sizes and locations of tubes, and functions. The ceiling height of each floor corresponds to its functional requirements while maintaining flexibility and accommodating changes in functions and time.The outer skin doesnt simply sets the boundary of the building but works as a filter that exchanges all kinds of information while linking the interior to the exterior. It is worth comparing the building to Rem Koolhaass proposal for the Library of University of Paris, a project unrealized. Both schemes are viable answers to our challenge to the concept on plans and sections that we architects have been trying relentlessly to overcome throughout history. If Mediatheque was able to set itself from gravity with its plan composed of simple diagrams, Rems library scheme created a series of space in succession by breaking down the concept of floors stacked up one after another (Think of it as countless columns in a domino). Despite both design founded on two totally different conceputs in terms of space and mass, they are very much alike in the fact that both are places offering information in vertical oriented urban environment of today. Floor plates piled up on top of one another and continuous urban landscape are probably where architecture of the new century starts. Those who study architettural style of Itos from the point of formal order say that oval or curve-linear lines what characterizes his design. And as a matter of fact, such lines have been appeared in his design in a wide variety and even, I, myself, also have confirmed such tendencies. In his book, Transfiguration wind, he already expressed that architecture of the wind is the type of form that the buildings in our society should possess. Then, what does he mean by architecture of the wind? The wind in a city implies the movement or flow and it is said to be a metaphor for a part of the city he lives. In the city, man as well as information flows and therefore, whats left are places for transit not for settlement Architetture of the wind embarks from such defnition of built objects among the innumerable flows of people, vehicles, and images in Shinjuk. Buildings in the age of electronics are no longer stationery objects withstanding the test of time but transform and respond to the changes in surroundings. This is an interaction not interfering with other flows in urban and natural environment.The Crystal Ballpark submitted as a proposal for a soccer stadium of one of the Korean conglomerates reacts to the flow of the city ,while the dome in Otate surrounded in a natural setting responds to the physical wind. This dome perhaps based on the crystal palaces of England at the end of 19th Century ,is designed to hold up to one hundred thousand spectators in a metropolis, Seoul .Isnit architecture of the wind that he is referring to as the glass dome looks to be flowing seen from the flows of Han River and the streets around? The line that draws the territories of the exterior and the interior is defined by the glass dome. The outside and the inside are continuously expanded and exchanged divided only by glass that maintains shear transparency and minimum structure . Even if his formal order in architecture evolves from oval to something else, what stays deep inside his mind is architecture that keeps re

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