本科毕业设计英文翻译-
毕业设计中英文翻译【范本模板】
英文The road (highway)The road is one kind of linear construction used for travel。
It is made of the roadbed，the road surface, the bridge, the culvert and the tunnel. In addition, it also has the crossing of lines, the protective project and the traffic engineering and the route facility。
The roadbed is the base of road surface, road shoulder，side slope, side ditch foundations. It is stone material structure, which is designed according to route's plane position .The roadbed, as the base of travel, must guarantee that it has the enough intensity and the stability that can prevent the water and other natural disaster from corroding.The road surface is the surface of road. It is single or complex structure built with mixture。
The road surface require being smooth，having enough intensity，good stability and anti—slippery function. The quality of road surface directly affects the safe, comfort and the traffic。
毕业论文(设计)外文文献翻译及原文
金融体制、融资约束与投资——来自OECD的实证分析R．SemenovDepartment of Economics，University of Nijmegen，Nijmegen（荷兰内梅亨大学，经济学院）这篇论文考查了OECD的11个国家中现金流量对企业投资的影响.我们发现不同国家之间投资对企业内部可获取资金的敏感性具有显著差异,并且银企之间具有明显的紧密关系的国家的敏感性比银企之间具有公平关系的国家的低.同时，我们发现融资约束与整体金融发展指标不存在关系.我们的结论与资本市场信息和激励问题对企业投资具有重要作用这种观点一致，并且紧密的银企关系会减少这些问题从而增加企业获取外部融资的渠道。
一、引言各个国家的企业在显著不同的金融体制下运行。
金融发展水平的差别(例如，相对GDP的信用额度和相对GDP的相应股票市场的资本化程度），在所有者和管理者关系、企业和债权人的模式中，企业控制的市场活动水平可以很好地被记录.在完美资本市场,对于具有正的净现值投资机会的企业将一直获得资金。
然而，经济理论表明市场摩擦，诸如信息不对称和激励问题会使获得外部资本更加昂贵，并且具有盈利投资机会的企业不一定能够获取所需资本.这表明融资要素，例如内部产生资金数量、新债务和权益的可得性，共同决定了企业的投资决策.现今已经有大量考查外部资金可得性对投资决策的影响的实证资料（可参考，例如Fazzari（1998）、 Hoshi(1991)、 Chapman（1996）、Samuel(1998））.大多数研究结果表明金融变量例如现金流量有助于解释企业的投资水平。
这项研究结果解释表明企业投资受限于外部资金的可得性。
很多模型强调运行正常的金融中介和金融市场有助于改善信息不对称和交易成本，减缓不对称问题,从而促使储蓄资金投着长期和高回报的项目,并且提高资源的有效配置（参看Levine（1997)的评论文章）。
因而我们预期用于更加发达的金融体制的国家的企业将更容易获得外部融资.几位学者已经指出建立企业和金融中介机构可进一步缓解金融市场摩擦。
毕业设计外文翻译译文
1 工程概论1.1 工程专业1.2 工业和技术1.3 现代制造业工程专业1 工程行业是历史上最古老的行业之一。
如果没有在广阔工程领域中应用的那些技术，我们现在的文明绝不会前进。
第一位把岩石凿削成箭和矛的工具匠是现代机械工程师的鼻祖。
那些发现地球上的金属并找到冶炼和使用金属的方法的工匠们是采矿和冶金工程师的先祖。
那些发明了灌溉系统并建造了远古世纪非凡的建筑物的技师是他们那个时代的土木工程师。
2 工程一般被定义为理论科学的实际应用，例如物理和数学。
许多早期的工程设计分支不是基于科学而是经验信息，这些经验信息取决于观察和经历，而不是理论知识。
这是一个倾斜面实际应用的例子，虽然这个概念没有被确切的理解，但是它可以被量化或者数字化的表达出来。
3 从16、17世纪当代初期，量化就已经成为科学知识大爆炸的首要原因之一。
另外一个重要因素是实验法验证理论的发展。
量化包含了把来源于实验的数据和信息转变成确切的数学术语。
这更加强调了数学是现代工程学的语言。
4 从19世纪开始，它的结果的实际而科学的应用已经逐步上升。
机械工程师现在有精确的能力去计算来源于许多不同机构之间错综复杂的相互作用的机械优势。
他拥有能一起工作的既新型又强硬的材料和巨大的新能源。
工业革命开始于使用水和蒸汽一起工作。
从此使用电、汽油和其他能源作动力的机器变得如此广泛以至于它们承担了世界上很大比例的工作。
5 科学知识迅速膨胀的结果之一就是科学和工程专业的数量的增加。
到19世纪末不仅机械、土木、矿业、冶金工程被建立而且更新的化学和电气工程专业出现了。
这种膨胀现象一直持续到现在。
我们现在拥有了核能、石油、航天航空空间以及电气工程等。
每种工程领域之内都有细分。
6 例如，土木工程自身领域之内有如下细分：涉及永久性结构的建筑工程、涉及水或其他液体流动与控制系统的水利工程、涉及供水、净化、排水系统的研究的环境工程。
机械工程主要的细分是工业工程，它涉及的是错综复杂的机械系统，这些系统是工业上的，而非单独的机器。
本科毕业设计的英文资料与中文翻译
英文资料与中文翻译IEEE 802.11 MEDIUM ACCESS CONTROLThe IEEE 802.11 MAC layer covers three functional areas：reliable data delivery, medium access control, and security. This section covers the first two topics.Reliable Data DeliveryAs with any wireless network, a wireless LAN using the IEEE 802.11 physical and MAC layers is subject to considerable unreliability. Noise, interference, and other propagation effects result in the loss of a significant number of frames. Even with error-correction codes, a number of MAC frames may not successfully be received. This situation can be dealt with by reliability mechanisms at a higher layer. such as TCP. However, timers used for retransmission at higher layers are typically on the order of seconds. It is therefore more efficient to deal with errors at the MAC level. For this purpose, IEEE 802.11 includes a frame exchange protocol. When a station receives a data frame from another station. It returns an acknowledgment (ACK) frame to the source station. This exchange is treated as an atomic unit, not to be interrupted by a transmission from any other station. If the source does not receive an ACK within a short period of time, either because its data frame was damaged or because the returning ACK was damaged, the source retransmits the frame.Thus, the basic data transfer mechanism in IEEE802.11 involves an exchange of two frames. To further enhance reliability, a four-frame exchange may be used. In this scheme, a source first issues a request to send (RTS) frame to the destination. The destination then responds with a clear to send (CTS). After receiving the CTS, the source transmits the data frame, and the destination responds with an ACK. The RTS alerts all stations that are within reception range of the source that an exchange is under way; these stations refrain from transmission in order to avoid a collision between two frames transmitted at the same time. Similarly, the CTS alerts all stations that are within reception range of the destination that an exchange is under way. The RTS/CTS portion of the exchange is a required function of the MAC but may be disabled.Medium Access ControlThe 802.11 working group considered two types of proposals for a MAC algorithm: distributed access protocols, which, like Ethernet, distribute the decision to transmit over all the nodes using a carrier-sense mechanism; and centralized access protocols, which involve regulation of transmission by a centralized decision maker. A distributed access protocol makes sense for an ad hoc network of peer workstations (typically an IBSS) and may also be attractive in other wireless LAN configurations that consist primarily of burst traffic. A centralized access protocol is natural for configurations in which a umber of wireless stations are interconnected with each other and some sort of base station that attaches to a backbone wired LAN: it is especially useful if some of the data is time sensitive or high priority.The end result for 802.11 is a MAC algorithm called DFWMAC (distributed foundation wireless MAC) that provides a distributed access control mechanism with an optional centralized control built on top of that. Figure 14.5 illustrates the architecture. The lower sub-layer of the MAC layer is the distributed coordination function (DCF). DCF uses a contention algorithm to provide access to all traffic. Ordinary asynchronous traffic directly uses DCE. The point coordination function (PCF) is a centralized MAC algorithm used to provide contention-free service. PCF is built on top of DCF and exploits features of DCF to assure access for its users. Let us consider these two sub-layers in turn.MAClayerFigure 14.5 IEEE 802.11 Protocol ArchitectureDistributed Coordination FunctionThe DCF sub-layer makes use of a simple CSMA (carrier sense multiple access) algorithm, which functions as follows. If a station has a MAC frame to transmit, it listens to the medium. If the medium is idle, the station may transmit; otherwise the station must wait until the current transmission is complete before transmitting. The DCF does not include a collision detection function (i.e. CSMA/CD) because collision detection is not practical on a wireless network. The dynamic range of the signals on the medium is very large, so that a transmitting station cannot effectively distinguish incoming weak signals from noise and the effects of its own transmission.To ensure the smooth and fair functioning of this algorithm, DCF includes a set of delays that amounts to a priority scheme. Let us start by considering a single delay known as an inter-frame space (IFS). In fact, there are three different IFS values, but the algorithm is best explained by initially ignoring this detail. Using an IFS, the rules for CSMA access are as follows (Figure 14.6):Figure 14.6 IEEE 802.11 Medium Access Control Logic1. A station with a frame to transmit senses the medium. If the medium is idle. It waits to see if the medium remains idle for a time equal to IFS. If so , the station may transmit immediately.2. If the medium is busy (either because the station initially finds the medium busy or because the medium becomes busy during the IFS idle time), the station defers transmission and continues to monitor the medium until the current transmission is over.3. Once the current transmission is over, the station delays another IFS. If the medium remains idle for this period, then the station backs off a random amount of time and again senses the medium. If the medium is still idle, the station may transmit. During the back-off time, if the medium becomes busy, the back-off timer is halted and resumes when the medium becomes idle.4. If the transmission is unsuccessful, which is determined by the absence of an acknowledgement, then it is assumed that a collision has occurred.To ensure that back-off maintains stability, a technique known as binary exponential back-off is used. A station will attempt to transmit repeatedly in the face of repeated collisions, but after each collision, the mean value of the random delay is doubled up to some maximum value. The binary exponential back-off provides a means of handling a heavy load. Repeated failed attempts to transmit result in longer and longer back-off times, which helps to smooth out the load. Without such a back-off, the following situation could occur. Two or more stations attempt to transmit at the same time, causing a collision. These stations then immediately attempt to retransmit, causing a new collision.The preceding scheme is refined for DCF to provide priority-based access by the simple expedient of using three values for IFS:●SIFS (short IFS):The shortest IFS, used for all immediate responseactions，as explained in the following discussion●PIFS (point coordination function IFS):A mid-length IFS, used by thecentralized controller in the PCF scheme when issuing polls●DIFS (distributed coordination function IFS): The longest IFS, used as aminimum delay for asynchronous frames contending for access Figure 14.7a illustrates the use of these time values. Consider first the SIFS.Any station using SIFS to determine transmission opportunity has, in effect, the highest priority, because it will always gain access in preference to a stationwaiting an amount of time equal to PIFS or DIFS. The SIFS is used in the following circumstances：●Acknowledgment (ACK): When a station receives a frame addressed onlyto itself (not multicast or broadcast) it responds with an ACK frame after, waiting on1y for an SIFS gap. This has two desirable effects. First, because collision detection IS not used, the likelihood of collisions is greater than with CSMA/CD, and the MAC-level ACK provides for efficient collision recovery. Second, the SIFS can be used to provide efficient delivery of an LLC protocol data unit (PDU) that requires multiple MAC frames. In this case, the following scenario occurs. A station with a multi-frame LLC PDU to transmit sends out the MAC frames one at a time. Each frame is acknowledged after SIFS by the recipient. When the source receives an ACK, it immediately (after SIFS) sends the next frame in the sequence. The result is that once a station has contended for the channel, it will maintain control of the channel until it has sent all of the fragments of an LLC PDU.●Clear to Send (CTS):A station can ensure that its data frame will getthrough by first issuing a small. Request to Send (RTS) frame. The station to which this frame is addressed should immediately respond with a CTS frame if it is ready to receive. All other stations receive the RTS and defer using the medium.●Poll response: This is explained in the following discussion of PCF.longer than DIFS(a) Basic access methodasynchronous trafficdefers(b) PCF super-frame constructionFigure 14.7 IEEE 802.11 MAC TimingThe next longest IFS interval is the: PIFS. This is used by the centralized controller in issuing polls and takes precedence over normal contention traffic. However, those frames transmitted using SIFS have precedence over a PCF poll.Finally, the DIFS interval is used for all ordinary asynchronous traffic.Point C00rdination Function PCF is an alternative access method implemented on top of the DCE. The operation consists of polling by the centralized polling master (point coordinator). The point coordinator makes use of PIFS when issuing polls. Because PI FS is smaller than DIFS, the point coordinator call seize the medium and lock out all asynchronous traffic while it issues polls and receives responses.As an extreme, consider the following possible scenario. A wireless network is configured so that a number of stations with time, sensitive traffic are controlled by the point coordinator while remaining traffic contends for access using CSMA. The point coordinator could issue polls in a round—robin fashion to all stations configured for polling. When a poll is issued, the polled station may respond using SIFS. If the point coordinator receives a response, it issues another poll using PIFS. If no response is received during the expected turnaround time, the coordinator issues a poll．If the discipline of the preceding paragraph were implemented, the point coordinator would lock out all asynchronous traffic by repeatedly issuing polls. To prevent this, an interval known as the super-frame is defined. During the first part of this interval, the point coordinator issues polls in a round, robin fashion to all stations configured for polling. The point coordinator then idles for the remainder of the super-frame, allowing a contention period for asynchronous access.Figure l4.7 b illustrates the use of the super-frame. At the beginning of a super-frame, the point coordinator may optionally seize control and issues polls for a give period of time. This interval varies because of the variable frame size issued by responding stations. The remainder of the super-frame is available for contention based access. At the end of the super-frame interval, the point coordinator contends for access to the medium using PIFS. If the medium is idle. the point coordinator gains immediate access and a full super-frame period follows. However, the medium may be busy at the end of a super-frame. In this case, the point coordinator must wait until the medium is idle to gain access: this result in a foreshortened super-frame period for the next cycle.OctetsFC=frame control SC=sequence controlD/I=duration/connection ID FCS=frame check sequence（a ） MAC frameBitsDS=distribution systemMD=more data MF=more fragmentsW=wired equivalent privacy RT=retryO=orderPM=power management (b) Frame control filedFigure 14.8 IEEE 802.11 MAC Frame FormatMAC FrameFigure 14.8a shows the 802.11 frame format when no security features are used. This general format is used for all data and control frames, but not all fields are used in all contexts. The fields are as follows:● Frame Control: Indicates the type of frame and provides contr01information, as explained presently.● Duration/Connection ID: If used as a duration field, indicates the time(in-microseconds) the channel will be allocated for successful transmission of a MAC frame. In some control frames, this field contains an association, or connection, identifier.●Addresses: The number and meaning of the 48-bit address fields dependon context. The transmitter address and receiver address are the MAC addresses of stations joined to the BSS that are transmitting and receiving frames over the wireless LAN. The service set ID (SSID) identifies the wireless LAN over which a frame is transmitted. For an IBSS, the SSID isa random number generated at the time the network is formed. For awireless LAN that is part of a larger configuration the SSID identifies the BSS over which the frame is transmitted: specifically, the SSID is the MAC-level address of the AP for this BSS (Figure 14.4). Finally the source address and destination address are the MAC addresses of stations, wireless or otherwise, that are the ultimate source and destination of this frame. The source address may be identical to the transmitter address and the destination address may be identical to the receiver address.●Sequence Control: Contains a 4-bit fragment number subfield used forfragmentation and reassembly, and a l2-bit sequence number used to number frames sent between a given transmitter and receiver.●Frame Body: Contains an MSDU or a fragment of an MSDU. The MSDUis a LLC protocol data unit or MAC control information.●Frame Check Sequence: A 32-bit cyclic redundancy check. The framecontrol filed, shown in Figure 14.8b, consists of the following fields.●Protocol Version: 802.11 version, current version 0.●Type: Identifies the frame as control, management, or data.●Subtype: Further identifies the function of frame. Table 14.4 defines thevalid combinations of type and subtype.●To DS: The MAC coordination sets this bit to 1 in a frame destined to thedistribution system.●From DS: The MAC coordination sets this bit to 1 in a frame leaving thedistribution system.●More Fragments: Set to 1 if more fragments follow this one.●Retry: Set to 1 if this is a retransmission of a previous frame.●Power Management: Set to]if the transmitting station is in a sleep mode.●More Data: Indicates that a station has additional data to send. Each blockof data may be sent as one frame or a group of fragments in multiple frames.●WEP：Set to 1 if the optional wired equivalent protocol is implemented.WEP is used in the exchange of encryption keys for secure data exchange.This bit also is set if the newer WPA security mechanism is employed, as described in Section 14.6.●Order：Set to 1 in any data frame sent using the Strictly Ordered service,which tells the receiving station that frames must be processed in order. We now look at the various MAC frame types.Control Frames Control frames assist in the reliable delivery of data frames. There are six control frame subtypes:●Power Save-Poll (PS-Poll): This frame is sent by any station to the stationthat includes the AP (access point). Its purpose is to request that the AP transmit a frame that has been buffered for this station while the station was in power saving mode.●Request to Send (RTS):This is the first frame in the four-way frameexchange discussed under the subsection on reliable data delivery at the beginning of Section 14.3.The station sending this message is alerting a potential destination, and all other stations within reception range, that it intends to send a data frame to that destination.●Clear to Send (CTS): This is the second frame in the four-way exchange.It is sent by the destination station to the source station to grant permission to send a data frame.●Acknowledgment:Provides an acknowledgment from the destination tothe source that the immediately preceding data, management, or PS-Poll frame was received correctly.●Contention-Free (CF)-End: Announces the end of a contention-freeperiod that is part of the point coordination function.●CF-End+CF-Ack:Acknowledges the CF-End. This frame ends thecontention-free period and releases stations from the restrictions associated with that period.Data Frames There are eight data frame subtypes, organized into two groups. The first four subtypes define frames that carry upper-level data from the source station to the destination station. The four data-carrying frames are as follows: ●Data: This is the simplest data frame. It may be used in both a contentionperiod and a contention-free period.●Data+CF-Ack: May only be sent during a contention-free period. Inaddition to carrying data, this frame acknowledges previously received data.●Data+CF-Poll: Used by a point coordinator to deliver data to a mobilestation and also to request that the mobile station send a data frame that it may have buffered.●Data+CF-Ack+CF-Poll: Combines the functions of the Data+CF-Ack andData+CF-Poll into a single frame.The remaining four subtypes of data frames do not in fact carry any user data. The Null Function data frame carries no data, polls, or acknowledgments. It is used only to carry the power management bit in the frame control field to the AP, to indicate that the station is changing to a low-power operating state. The remaining three frames (CF-Ack, CF-Poll,CF-Ack+CF-Poll) have the same functionality as the corresponding data frame subtypes in the preceding list (Data+CF-Ack, Data+CF-Poll, Data+CF-Ack+CF-Poll) but withotit the data. Management FramesManagement frames are used to manage communications between stations and APs. The following subtypes are included:●Association Request：Sent by a station to an AP to request an association,with this BSS. This frame includes capability information, such as whether encryption is to be used and whether this station is pollable.●Association Response:Returned by the AP to the station to indicatewhether it is accepting this association request.●Reassociation Request: Sent by a station when it moves from one BSS toanother and needs to make an association with tire AP in the new BSS. The station uses reassociation rather than simply association so that the new AP knows to negotiate with the old AP for the forwarding of data frames.●Reassociation Response:Returned by the AP to the station to indicatewhether it is accepting this reassociation request.●Probe Request: Used by a station to obtain information from anotherstation or AP. This frame is used to locate an IEEE 802.11 BSS.●Probe Response: Response to a probe request.●Beacon: Transmitted periodically to allow mobile stations to locate andidentify a BSS.●Announcement Traffic Indication Message: Sent by a mobile station toalert other mobile stations that may have been in low power mode that this station has frames buffered and waiting to be delivered to the station addressed in this frame.●Dissociation: Used by a station to terminate an association.●Authentication：Multiple authentication frames are used in an exchange toauthenticate one station to another.●Deauthentication:Sent by a station to another station or AP to indicatethat it is terminating secure communications.IEEE802.11 媒体接入控制IEEE 802．11 MAC层覆盖了三个功能区：可靠的数据传送、接入控制以及安全。
毕业设计论文外文文献翻译
毕业设计(论文）外文文献翻译院系：财务与会计学院年级专业：201＊级财务管理姓名:学号：132148*＊*附件: 财务风险管理【Abstract】Although financial risk has increased significantly in recent years risk and risk management are not contemporary issues。
The result of increasingly global markets is that risk may originate with events thousands of miles away that have nothing to do with the domestic market。
Information is available instantaneously which means that change and subsequent market reactions occur very quickly。
The economic climate and markets can be affected very quickly by changes in exchange rates interest rates and commodity prices。
Counterparties can rapidly become problematic。
As a result it is important to ensure financial risks are identified and managed appropriately. Preparation is a key component of risk management。
【Key Words】Financial risk，Risk management，YieldsI. Financial risks arising1.1What Is Risk1.1.1The concept of riskRisk provides the basis for opportunity. The terms risk and exposure have subtle differences in their meaning. Risk refers to the probability of loss while exposure is the possibility of loss although they are often used interchangeably。
毕业设计中英文翻译
本科生毕业设计（论文）外文翻译毕业设计（论文）题目：电力系统检测与计算外文题目：The development of the single chipmicrocomputer译文题目：单片机技术的发展与应用学生姓名： XXX专业： XXX指导教师姓名： XXX评阅日期：单片机技术的发展与应用从无线电世界到单片机世界现代计算机技术的产业革命，将世界经济从资本经济带入到知识经济时代。
在电子世界领域，从 20 世纪中的无线电时代也进入到 21 世纪以计算机技术为中心的智能化现代电子系统时代。
现代电子系统的基本核心是嵌入式计算机系统(简称嵌入式系统)，而单片机是最典型、最广泛、最普及的嵌入式系统。
一、无线电世界造就了几代英才。
在 20 世纪五六十年代，最具代表的先进的电子技术就是无线电技术，包括无线电广播，收音，无线通信(电报)，业余无线电台，无线电定位，导航等遥测、遥控、遥信技术。
早期就是这些电子技术带领着许多青少年步入了奇妙的电子世界，无线电技术展示了当时科技生活美妙的前景。
电子科学开始形成了一门新兴学科。
无线电电子学，无线通信开始了电子世界的历程。
无线电技术不仅成为了当时先进科学技术的代表，而且从普及到专业的科学领域，吸引了广大青少年，并使他们从中找到了无穷的乐趣。
从床头的矿石收音机到超外差收音机；从无线电发报到业余无线电台；从电话，电铃到无线电操纵模型。
无线电技术成为当时青少年科普、科技教育最普及，最广泛的内容。
至今，许多老一辈的工程师、专家、教授当年都是无线电爱好者。
无线电技术的无穷乐趣，无线电技术的全面训练，从电子学基本原理，电子元器件基础到无线电遥控、遥测、遥信电子系统制作，培养出了几代科技英才。
二、从无线电时代到电子技术普及时代。
早期的无线电技术推动了电子技术的发展，其中最主要的是真空管电子技术向半导体电子技术的发展。
半导体电子技术使有源器件实现了微小型化和低成本，使无线电技术有了更大普及和创新，并大大地开阔了许多非无线电的控制领域。
毕设设计类外文翻译
Interior Design Supports Art Education: A Case StudyInterior design, as a field of study, is a rapidly growing area of interest – particularly for teenagers in the United States. Part of this interest stems from the proliferation ofdesign-related reality shows available through television media. Some art educators and curriculum specialists in the nation perceive the study of interior spaces as a ‘practical application’ of the arts.This article discusses an experiential design problem, originally used in higher education interior design studio courses that was modified and shared with students in third grade to address national academic standards. Later, this same project was modified for use with high school students in the educator’s community a nd with international design students in South Korea.Lastly, the project was presented in a workshop to art education students at a higher education institution. The project was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem-solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. Findings indicate that the project supported several visual art standards, including perception and community. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting art education.IntroductionThe design of interior spaces is a growing area of interest in the United States. Studies indicate that people spend 90 per cent of their time indoors, thereby making the quality design of interiors critical to the health and welfare of the population. Youth have been unconsciously encouraged since their childhood to develop awareness of their personal interior spaces and furnishings through popular storybooks they read that introduce the awareness of scale, proportion and ergonomics at a very young age (e.g. Three Little Bears and Alice in Wonderland). More recently, teens in the United States have become unexpectedly ‘hooked’ on design related reality shows such as Trading Spaces, Changing Rooms and Design on a Dime. Although Trading Spaces was originally intended for adults, according to the Wall Street Journal article titled ‘The Teen-Room Makeover’ (18 October 2002) the audience has more than 125,000 viewers aged 12 to 17 [1]. In support of that finding, a survey conducted in 2003 for a national chain of hardware stores discovered 65 per cent of teens said they have watched home improvement-related television shows [2].Teens seemingly have a growing interest in the design of interior spaces.In the United States in 2002, a qualitative study was developed to determine if interior design subject-matter could support national academic standards in elementary and secondary schools (kindergarten – twelfth grade) [3]. Findings of the study indicated that art educators and curriculum specialists perceived interior design to be supportive in meeting their standards as a type of ‘practical application’ of the arts. Perceptions of the curriculum specialists indicated they were looking for new ways to interpret fine art standards in their existing curriculum and that interior design offered one solution. As a result, the researcher, who was an interior design educator, was encouraged to identify and develop a project or lesson plan that could introduce children and youth to the importance of well-designed interior spaces yet support an art education standard in the nation.This article discusses an experiential interior design project that was modified from an exercise used in the freshman and sophomore college studio classes and shared with students in third grade, high school, and with international students in South Korea by this interior design educator. The educator was later invited to present this project to art education teachers at her university. The project supported several school district visual art standards, including perception and community. It was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting visual art standards.Review of literatureThe review of literature briefly discusses (1) experiential learning theory, (2) findings from a qualitative study involving art educators, and (3) the interior design link with art education. The interior design project description and process of application will follow.Experiential learningExperiential learning theory, as an application of cognitive/perceptual models, is a tool toenhance the cognitive process of students. Specifically, the experiential learning cycleinvolves a concrete experience that leads to observations and reflections then to formation of abstract concepts and generalisations, before finally testing implications from concepts in new situations [4].The Association for Experiential Education defines experiential education astheprocess by which a learner constructs knowledge, skill and value from direct experience [5]. Drengson [6] defines experiential education as the process of practical engagement withconcepts and skills applied in a practical setting and delivered through physical and practical mental activity.One of the key components to enhance student learning is reflection. Dewey [7] suggests that to have meaning, an experience must be combined with thought. Kolb [8] suggests that reflections can offer a potential source of powerful data to link theory to practice. The mental engagement of an experiential learner can involve questioning, investigation, experimentation, curiosity, problem-solving, assuming responsibility, creativity and the construction of meaning [9].Experiential learning offers the spontaneous opportunity for learning, whether from unplanned moments, natural consequences, mistakes or successes [10]. Holistically, it involves not only the cognitive but also any combination of the senses, the emotions, and the physical [11].Qualitative study involving art educatorsIn 2001, a study was conducted to determine if interior design may be supportive tokindergarten – twelfth grade (K–12) teachers in meeting national academic standards,including the arts [12]. To understand perceptions of experts in interior design and elementary and secondary education, five focus group session sand six personal interviews were conducted with interior design educators, practitioners,K–12 teachers (elementary, junior high, and high school levels), national standards curriculum specialists (local and state level), and school-to-career curriculum specialists from June 2001 to April 2002[13].Focus group findings indicated that K–12teachers, at both elementary and secondary levels, felt that interior design could be supportive in meeting visual art standards because youth are frequently analysing their personal and public spaces. Participants described specific examples of interior design materials they currently needed in their course work to include: examples of good and bad interior spaces, information about elements and principles of design as they relate to interior spaces, and hands-on col our wheels of sturdy materials. In addition they requested that the materials be low cost, stimulating,‘touchable’,recyclable, self-contained, and fun. Lesson plans the visual art teachers suggested included:• reinvention of the ‘shoe box’ projec t;• development of well-known stories (The Three Pigs, Three Little Bears, and Alice in Wonderland) into space models to teach proportion and scale. In addition, it was suggestedthe following lesson plan: use of Goldilocks story to analyse ‘client or consumer needs’;• use of a Dr Seuss story (literary passage) to generate a conceptual model that enhances creativity;• study of cultural spaces at the junior high level that would enhance study of personal expression of identity in interiors [14].The visual arts curriculum specialists indicated hat interior design –as a ‘practical application’ should be introduced in elementary levels where there is a ‘small window of opportunity’ to give good information about the visual arts. See Table 1 fo r an example of the visual art standards in kindergarten – third grade levels. One visual art specialist advocated that the design process was more important to teach than a particular design method. He suggested moving students from designing personal spaces – and the study of elements and principles of design – in elementary levels to the analysis of private and public spaces in the junior high level. Then the high school levels could be reserved for additional indepth Exploration.Today, junior high and high school students are quite attracted to design-related reality shows. Over the last five years, the number of designrelated television shows has increased dramatically [15]. Why are these shows so attractive to teens and young adults? Rodriguez [16]has suggested that this interest is linked to the teens need for expression of self andself-identity.An individual’s unique identity is established through personalisation of space, which is critical to overall development of self [17]. Developing a sense of self involves the use of symbols to communicate to others one’s personal underlying identity.Interior design link with art educationIt is not common for interior design to be linked with art education in K–12 grade levels in the United States. However, the Foundation for Interior Design EducationResearch[18]standards and guidelines – the accreditation organization for higher education interior design programmes in the nation – reveal that there are many shared areas between visual arts and interior design (e.g.elements and principles of design).Rasmussen and Wright [19]advocate the need for a new model for art education. The new model should offer youth an aesthetic education that does more than just serve the traditional concerns of established arts curriculum. Experiences indicate that young people try to make sense of their own lives by creating contextual understanding through actively, and intentionally, making connections to signs, perceptions and experiences. This is a challenge to develop a new art education model that creates a balance between social andcontextual needs, knowledge of young people, and theaesthetic medium itself.The study of interior spaces offers one such context for learning in the physical environment.People spend 90 per cent of their time in interior spaces [20]. Youth consciously or unconsciously, analyse and respond to their near environment. They also learn best if they understand why they are learning what they are learning. Application of design and art to everyday life can assist in making connections in student learning, and develop more awareness of good design as well as an appreciation of the arts. Youth need theopportunity to learn more about design and human behavior so they can learn they have choices about how supportive their environments can be. Children can [determine] how design influences their behaviors; howdesign can be used to manipulate behavior; how design can encourage or discourage conversation, establish status, put people in power positions, increase or decrease anxiety [21].Therefore, based on (1) the experiential learning theoretical underpinnings, (2) recommendations made by art educators and curriculum specialists, and (3) a call for a new ways of teaching art education, an interior design educator at a higher education institution modified an experiential design project that involved the use of elements and principles of design and an opportunity for self-expression of personal spaces. The designproblem of the personal space was changed based on the grade level.Case study project descriptionAlthough art educators and curriculum specialists perceived that interior design content could be supportive to visual art standards, it was determined that a case study project needed to be developed and presented to various grade levels. It was also determined that a conceptual model of interior spaces should be used toenhance student creativity and exploration rather than a finite model that would offer too many rules and boundaries. Project descriptionThe experiential interior design project involved the construction of athree-dimensional concept model using 44 triangular and rectangular pieces of cardstock (stiff) paper in a neutral colour [22]. The objective was to discover, manipulate and create interior spaces based on a given design problem (e.g. design your space station on a planet of your choice or design your home in the Rocky Mountains of Colorado). The purpose ofthe project was to encourage students to design a conceptual structure from the interior out, keep-ing in mind the function of the building. The student’s model had to incorporate a minimum of six spaces and three levels to encourage vertical as well as horizontal volumes. All 44 pieces of cardstock had to be used in the finished model, which sometimes posed achallenge to the youth. The cardstock pieces could not be ripped, torn, or pierced. However, they could be bent and shapedaccording to the whim of the student.Flow from one space to another and one level to another was emphasized. The decision-making design process was explained and encouraged.Outcomes consisted of a three-dimensional abstract model which, if successfully executed, demonstrated the break-down of traditional spatial paradigms. Design problemsEach student grade level was given a different design problem based on the academic standards that were to be met in that class. In some cases, several academic standards were addressed at the same time. Two national standards for visual arts in the United States were selected to be supported with this project: communication and perception. The communication standard indicates that students in kindergarten – third grade should recognise the use of the visual arts as a means of communication (e.g. select and use visual images, themes and ideas in their own work). The perception standard indicates that students know, understand and apply elements of visual arts and principles of design (e.g. Identify elements and principles of design).Third grade studentsAfter procuring appropriate permission, the design educator brought volunteer college-age interior design students to the elementary school to help administer the project. Three third grade classes (twenty students in each class) had just finished a science unit on space and orbits and were studying specific visual art standards. The children were asked to design a personal space station on a planet of their choice. The goal was to help students relate the newly learned science information to something in real life (e.g. Their home), yet encourage exploration of visual arts (see Figs. 2–4).Each team of students was given the same 44 pieces of cardstock (all cut out) in a plastic bag, a cardboard base (15” x 15” square) on which to build the model, and cellophane tape to use in constructing the model. To enhance reflection of this experiential project, each team of three students was asked to give a two-minute verbal presentation in front of the class on their finished model. In this manner, they could discuss their design solution and the design educator could assess their use of creativity through design elements and principles.The college students and design educator rotated through the three classrooms of students to answer questions, encourage use of design elements and principles, and applaud their creative exploration. The third grade teachers assisted in supporting the structure of the class and encouraging shy students who were reluctant to begin.It was interesting to observe that the children rarely built the models on their provided classroom tables. Instead,they moved to the floor space, located the base for the model in between team members, and began construction. Each team member assumed a role in the process. One team member seemed t o act as the ‘designer’, one as the ‘builder/construction crew’ and the last as the ‘supplier’ of materials. Students excitedlydiscussed the positioning of the triangular pieces of cardstock in their model, their rooms in their space stations, and the different ways to turn the model to create different vantage points.The teams of third graders had one hour to complete the models. Then their verbal presentations began, interspersed with questions and comments from the design educator and third grade teachers. Informal observations indicatedthat application of design elements and principles was strong – perhaps due to the consistent rectangular and triangular shapes that had been provided – thereby supporting the visual arts perception standard. Manipulation of shapes was innovative. Line, shape and form were used to provide movement through adjoining spaces and offered a sense of verticality. Interior volumes were created that supported human behaveour in interior spaces. For example, one team’s presentation discussed how their space station boasted an exercise room with trampolines to strengthen human muscles that weakened as a result of zero gravity in outer space. The communication standard was supported in their finished models in a couple ways. First there was a theme of design as it relates to protection from foreign objects. For example, one team’s space station on Saturn incorporated a force field to protect it from flying rocks. Other visual themes of security and safety evoked the implementation of security cameras, alien detectors, missile launchers, telescope laboratories, control stations and transport rooms. Another visual theme related to circulation. Circulation within the structure was depicted by the third graders through the use of escalators, stairs, elevators and poles. A third visual theme was unique human needs as they relate to interior spaces. Almost every team’s space station incorporated a room for their mothers! In addition, depending on the students’ personal interests, unique space station features ranged from chemical rooms to sandboxes. It was obvious in their multiple unique design solutions their use of creativity had been explored and enhanced.Evaluation and assessment that took place, after the classes were dismissed, indicated that the third grade teachers perceived that this experiential design project supported the visual arts standards in both the communication and perception components as well as the third grade science academic standard concerning space and orbits. In addition, the experiential component of the project had unexpected results when certain quiet, unassuming students in the class became animated and highly engaged in learning. One teacher shared her excitement with the design educator about a new connection that wasformed with one of students that she had not been able to connect with before the design exercise.High school studentsAfter the case study with the third grade students, it was determined to offer this project to high school students. Diversity students in a nearby community were invited to attend a complimentary design workshop at a local library. The interior design educator was asked to present a design problem that would relate to arteducation (see Figs. 6–8).Their problem was to use the same experiential project and shapes to design and construct a conceptual model of their new home or cabin in the Rocky Mountain region. The same project constraints existed. Due to the students’ ages, discussions took place prior to the exercise about innovative problem-solving, the exploration of creativity and the elements and principles of design used within the design process. Some of these elements and principles included:Scale. Awareness of human scale was addressed to develop understanding of proportion and scale of the structure and interior spaces. Shape. Triangular shapes were deliberately selected to encourage students to break paradigms of rectangular interior spaces.Colour. The cardstock pieces were of a neutral colour to enhance spatial composition rather than draw attention to colour usage or juxtaposition. Volume/Mass. The mass of thethree-dimensional model was important in communicating the use of common elements and principles of design (e.g. line, rhythm). Line. A variety of different lines (e.g. diagonal, horizontal) were investigated in the manipulation of the shapes. Space. Space was created through the manipulation of shapes. Theories of complexity, mystery and refuge within interior spaces were discussed. Informal assessment of the finished design models indicated that the design solutions werevery creative.Later that semester, by invitation, the same design project was taken to college students training to be art educators in a mini-workshop format. The art education students found the exercise effective in enhancing creativity and understanding how interior design can enhance understanding of visual arts.International studentsAlthough there was no intention to meet a national visual arts academic standard at a specific grade level, this same experiential design project was presented in Seoul, South Korea to college-aged international students. The design problem was to use the same 44 pieces to develop a design concept model for acommercial building in Seoul. Language translators were used to help the design educatorintroduce the project, guide the students through the process, and understand their verbal presentations at the end of the workshop.Students commented during and after the workshop how the model enhanced their visual literacy skills (they used different words) and creativity within the context of everyday life. The experiential nature of the workshop was seemingly a pleasure to them (see Figs.9–11).Discussion and conclusionThis interior design case study project was designed to be experiential in nature to enhance student learning of the visual arts. Student and teacher assessment of the various groups indicated enthusiasm for the design project because it enhanced creativity, explored multiple design solutions, related to real life, and increased their understanding of human behaviour within the context of the physical environment. Teacherassessment of the age groups indicated that the project did support visual art standards at the appropriate grade level. In addition, their assessment indicated satisfaction with the manner in which the interior design project encouraged student usage of the design elements and principles and the application of design to everyday living. Several instructors indicated that quiet and shy students in their class became engaged in the learning process, which had not been previously observed. Perception of art educators and art education students was that this project supported a variety of visual art standards such as perception and communication. This interior design case study project can be modified for various age and cultural groups and may be of interest to educators who are interested in working collaboratively with colleagues from other disciplines.Visual art programmes in the United States are being cut from the K–12 curriculum. By linking visual arts to an up-and-coming aesthetic field, such as interior design, there may be new ways to sustain and grow visual art programmes in the nation.References1. Orndoff, K. (2003) ASID American Society of Interior Designers 2003 Strategic Environment Report. Future Impact Education, p. 9.2. Levitz, S. (2004) Teens Hooked on Home Décor, London Free Press (Ontario, CA), 24 June, p. D2.3. Clemons, S. (2002) Collaborative Links with K–12: A Proposed Model Integrating Interior Design with National Education Standards, Journal of Interior Design, Vol. 28, No. 1, pp.40–8.4. Rubin, S. G. (1983) Overcoming Obstacles to Institutionalization of Experiential Learning Programs, New Directions for Experiential Learning, Vol. 20, pp. 43–54.5. Luckman, C. (1996) Defining Experiential Education, Journal of Experiential Education, Vol. 19, No. 1, pp. 6–7.6. Drengson, A. R. (1995) What Means this Experience? in Kraft, R. J. & Sokofs, M. [Eds] The Theory of Experiential Education. Boulder, CO: Association for Experiential Education, pp. 87–93.7. Dewey, J. (1916) Democracy and Education. New York: Macmillan.8. Kolb, D. A. (1984). Experiential Learning: Experience as the Sources of Learning and Development. Englewood Cliffs, NJ: Prentice-Hall.9. Luckmann, C. op. cit.10. Ibid.11. Carver, R. (1996) Theory for Practice: A Framework for Thinking about Experiential Education, Journal of Experiential Education, Vol. 19, No. 1, pp. 8–13.12. Clemons, S. op. cit.13. Ibid.14. Ibid.15. Bien, L. (2003) Renovating how-to TV Shows in a Race to Duplicate Success of ‘Trading Spaces’. The Post Standard (Syracuse, NY), 31 October, p. E1.16. Rodriguez, E. M. (2003) Starting Young, Miami Herald, 28 December, p. H–1.17. Baillie S. & Goeters, P. (1997) Home as a Developmental Environment. Proceedings of the American Association of Housing Educators, New Orleans, LA, pp. 32–6.18. Foundation of Interior Design Education Research (FIDER) home page. Available from URL: / (Accessed 4th January 2005).19. Rasmussen, B & Wright, P. (2001) The theatre workshop as educational space: How imagined reality is voiced and conceived, International Journal of Education & the Arts, Vol. 2, No. 2, pp.1–13.20. Environmental Protection Agency (2006) An Introduction to Indoor Air Quality (online). Available from URL: /iaq/ ia-intro.html (Accessed 26th September 2006).21. InformeDesign (n.d.) Implications, Vol. 1, No. 2, p. 2 (online). Available from URL: /# (Accessed 4th January 2005).22. Curfman, J. & Clemons, S. (1992) From Forty-Four Pieces to a New Spatial Paradigm, in Birdsong, C. [Ed.] Proceedings of the Interior Design Educators Council Southwest Regional Meeting, New Orleans, pp. 2–4./detail/refdetail?tablename=SJWD_U&filename=SJWD00000744102&uid=WEEvR EcwSlJHSldSdnQ0SWZDdUlMV1dWZi9tOGkyYTBaTzBVQjVYeENXYVp4MVRJQjI3cmZRYS9YRmhvdnlxazJRPT 0=$9A4hF_YAuvQ5obgVAqNKPCYcEjKensW4IQMovwHtwkF4VYPoHbKxJw!!Interior Design in Augmented Reality EnvironmentABSTRACTThis article presents an application of Augmented Realitytechnology for interior design. Plus, an Educational InteriorDesign Project is reviewed. Along with the dramatic progress ofdigital technology, virtual information techniques are alsorequired for architectural projects. Thus, the new technology ofAugmented Reality offers many advantages for digitalarchitectural design and construction fields. AR is also beingconsidered as a new design approach for interior design. In an ARenvironment, the virtual furniture can be displayed and modifiedin real-time on the screen, allowing the user to have an interactiveexperience with the virtual furniture in a real-world environment.Here, AR environment is exploited as the new workingenvironment for architects in architectural design works, and thenthey can do their work conveniently as such collaborativediscussion through AR environment. Finally, this study proposesa newmethod for applying AR technology to interior designwork, where a user can view virtual furniture and communicatewith 3D virtual furniture data using a dynamic and flexible userinterface. Plus, all the properties of the virtual furniture can beadjusted using occlusion- based interaction method for a TangibleAugmented Reality. General TermsApplications of computer science in modeling, visualization andmultimedia, graphics and imaging, computer vision, human-computerinteraction, et al.KeywordsAugmented Reality, Tangible AR, CAAD, ARToolKit, Interiordesign.1. INTRODUCTIONVisualizing how a particular table or chair will look in a roombefore it is decorated is a difficult challenge for anyone. Hence,Augmented Reality (AR) technology has been proposed forinterior design applications by few previous authors, for example,Koller, C. Wooward, A. Petrovski; K. Hirokazu, et al. The relateddevices typically include data glassesconnected to a。
本科毕业设计外文文献翻译
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Itｓeｘposure to tｈe force aｌoｎg ｔhe ｐlane leｖｅl of theｒole ofｓｈear and momｅｎt, must also take ｉｎtｏａccounｔthe veｒｔical preｓsure.Opeｒate unｄer thｅcomｂiｎed actｉｏn oｆbenｄing momeｎts and axial force aｎｄsheａr forcｅbｙthe caｎtilｅｖｅr deep beａm uｎder ｔｈe acｔion of the force leveｌｔo lｏo ｋinto ｔｈe bottom mouｎted on ｔhe basｉs of. Sheaｒｗaｌl ｉｓdiｖidｅｄinｔo a whole walｌand ｔheａssoｃiated ｓｈeａr wall in thｅactual project,a wholｅwａlｌfor ｅxａmpl ｅ, suｃh as ｇenｅraｌhｏusiｎｇｃonstｒuction in tｈe gablｅｏr fish bｏne strｕcture ｆｉlｍwａｌls ａnd small opｅningｓwall.Cｏupled Sｈeａr ｗalls are ｃonnｅcted bｙｔhｅcｏupｌing ｂeam shｅａr wall.Buｔｂecause tｈeｇｅnerａlｃｏupling beaｍstｉｆfness is less thaｎｔhe wall stiｆfnｅsｓof the lｉmbs，ｓｏ. Wａlｌliｍb aｌonｅis obviｏus.The ｃｅntral beam of tｈeｉnflｅｃtion pｏｉnｔtｏpay aｔtenｔiｏｎto tｈeｗaｌl pressｕre thａn the limiｔs of the lｉmb axis. Will forｍa shortｗiｄe beａms，widｅcolｕmn wａll liｍｂｓhear wａll ｏpｅnings toｏlarge ｃomｐonｅnt aｔbothｅn ｄs ｗith jｕst the domain of vａｒiabｌe crosｓ－ｓecｔｉon ro ｄin ｔhe intｅrｎａｌforcｅｓｕnder tｈｅaｃtioｎof maｎy Ｗalｌlｉmb iｎflｅcｔion point Ｔhｅｒeｆoｒe, ｔhe cａｌcula ｔions ａｎd consｔruction sｈouldAccordinｇtｏappｒoxiｍａｔe tｈe framｅstｒucｔure to ｃonsideｒ.Tｈe desｉｇｎof ｓhｅａr walls ｓhoulｄbe based on the cｈａractｅrisｔics ｏf ａvａｒｉｅty oｆwall itseｌｆ,ａnd dｉfferｅnｔmeｃhanical ch ａrａcteｒisｔｉcｓand requireｍents,wall oｆthｅinternａｌforceｄistrｉbutｉon and failurｅmoｄｅs ｏf sｐecific and cｏmprehensive ｃonｓideration of the design rｅinｆorcemｅnt aｎd stｒuctural measｕres. Ｆrame sｈear wall ｓｔrｕctuｒe deｓiｇn is to cｏｎsider the ｓtructｕre of the oｖerall ａnａｌysis for ｂoｔh dｉrecｔｉｏｎsｏｆthｅhｏrｉzontal and vｅrtiｃalｅfｆects. Oｂtain thｅinternal force ｉs reｑuirｅd in ａccｏrdancｅｗｉｔｈtｈe bias or paｒtｉal ｐull normal sｅcｔｉon forｃｅｃaｌculatiｏn.The waｌl strｕcture oｆtheｆｒame sｈear ｗall ｓｔructural dｅsign of ｔhe coｎtent frame hｉgh-rise buildings, in ｔhe actual ｐrｏjeｃｔiｎｔhｅuse of thｅｍoｓt seisｍic ｗａlls have suffiｃient quantitｉeｓto meｅt ｔheｌｉmitsｏf the lａyer displacement, the loｃation iｓｒelａtiｖely flexiblｅ. Seiｓmic wａll for cｏntinuous layout，ｆulｌ-length ｔhroｕgh．Should bｅdesigned to avoid the waｌl mutaｔioｎs ｉn limb ｌｅｎgth and alignment is noｔuｐａnd down the ｈolｅ. The samｅtｉme．Tｈe inｓide of ｔhe hole marginｓcｏlｕｍｎshｏｕld not ｂｅｌｅssｔhan３00mm ｉｎordｅｒtｏguaraｎteｅtheｌengtｈof the colｕｍn ａs the edgｅof tｈe coｍponent and constｒａiｎt eｄgｅcｏｍponeｎts．Thｅbi-direc ｔiｏnal laｔerａl forｃe ｒesiｓting strucｔurａl fｏrm of verticａl aｎｄhorｉzontaｌwalｌcoｎnected.Eａｃh ｏｔhｅr as ｔhe ａffiｎiｔｙof the shｅar wall. Ｆor ｏnｅ, two seismic frａme sｈe ａr ｗalｌｓ,ｅｖen beam highｒatio ｓhould noｔgreateｒthan 5 aｎd a height of nｏt less thaｎ400mm.Midline colｕmnａnd beａmｓ,wall ｍｉdline shouｌdｎoｔbe greaｔer tha ｎthe ｃoｌｕmｎwidｔｈof1/4，ｉn ordｅr ｔｏreｄuce thｅtoｒsional eｆfect of the sｅiｓmｉｃacｔion ｏnｔｈｅｃolｕmn．Oｔhｅrwｉsｅcan be taken tｏstrengthｅn theｓtirruprａｔｉo iｎｔhe cｏlｕmn tｏmake ｕp.If thｅshear wａｌl sheａｒsｐａn ｔhａnｔhe ｂig twｏ. Ｅveｎthe beａｍcro ｓs-heｉｇht ratiｏgreateｒthan 2.5, ｔhen tｈe design presｓｕｒe ｏf thｅｃｕt shoulｄnoｔmａkｅａｂig 0.2. Howevｅｒ, ｉf the sheａｒwallｓheａr sｐａｎｒatiｏof ｌess than two couｐlinｇｂeａms sｐan of ｌeｓs than ２．5, then the shear coｍｐres ｓiｏn rａｔiｏis noｔgreaｔer thａn 0.15. Thｅｏther haｎｄ，ｔhe bｏttom oｆthe fraｍe ｓhｅar walｌstructure ｔo enhａnce tｈｅdｅsign sｈould ｎoｔbe leｓs thaｎ２０0mmａnd noｔlesｓthaｎstorey 1/１6，othｅｒｐaｒtｓｓhｏulｄnot be lｅss than 160mm ａnd ｎｏt ｌｅss thaｎｓtoｒey １/20. Arounｄthe wall of the frame ｓhｅar ｗall strucｔure sｈｏulｄbe set ｔo the beａm or dark bｅamａnd the sｉｄe columｎｔｏform a borｄｅr. Ｈoｒizｏntａl ｄｉｓtrｉbuｔioｎoｆsｈear waｌls cａn from the sheａr effect，tｈｉs design wｈen ｂuilｄｉng higｈｅr longeｒor fｒaｍｅｓtructｕre reinfoｒcｅment shｏuld be aｐprｏpｒiatelｙincｒeａｓed, ｅspｅcｉａlｌy in the sｅnｓitivｅｐarts of the beam pｏsition ｏr teｍperaｔuｒe, stiffnｅsｓchａnge is besｔappｒopriatｅly increased, ｔｈeｎcｏnsidｅration sｈoulｄbe ｇｉveｎｔo the wａlｌvertｉcaｌreiｎforｃemeｎt,becaｕse ｉt is mａinly fｒom the bｅnding efｆecｔ, aｎｄtake in ｓome ｍｕlti-ｓtorｅｙshｅａｒｗａll structuｒereinforcｅｄreｉnｆorceｍent rate -likｅlｅsｓconｓtｒained edgｅｏｆｔhｅcomｐonent or components reinforｃemeｎt of thｅedge ｃomｐｏnent.Referｅnces: [1 sad Hａyaｓhi,He Yaming. Ｏn the shorｔshｅar ｗall ｈigh-riｓe bｕilｄinｇｄesign ［J]．Kｅｙｕaｎ, 2008, (O2).高层框架剪力墙结构设计吴继成摘要: 本文从框架剪力墙结构设计的基本概念人手, 分析了框架剪力墙的构造设计内容, 包括抗震墙、剪跨比等的设计, 并出混凝土结构中最常用的框架剪力墙结构设计的注意要点。
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