背景资料: 南方某防波堤工程总长900m,堤头100m为直立式结构,堤身采用沉箱结构

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问题:

背景资料: 

南方某防波堤工程总长900m,堤头100m为直立式结构,堤身采用沉箱结构,其余800m为斜坡式结构,采用扭王字块护面,堤顶设置混凝土胸墙,混凝土强度等级为C30。胸墙断面尺寸为4×6m,分段长度为10m。 

施工单位进场后,因工期紧迫,项目经理部在编制好施工组织设计后,直接报送给业主和监理单位,经监理工程师审核确认后,工程正式开工。 

扭王字块安装施工时,监理工程师发现,扭王字块全部竖着整齐排列,经询问,施工人员认为这样安装整齐美观。 

胸墙为素混凝土结构,属大体积混凝土,为了防止胸墙出现裂缝,施工单位在配合比没计中掺入了Ⅱ级粉煤灰,取代15%的水泥,超量取代,超量取代系数为1.3;该配合比的水胶比为0.6,拌合水用量为180kg/m3。 

胸墙混凝土浇筑正值夏季高温季节,浇筑时实测混凝土人模温度为38℃,混凝土终凝后,在混凝土表面铺设一层塑料薄膜,采用洒淡水潮湿养护7天。施工时,胸墙内部设置了测温系统,根据测温记录显示,胸墙混凝土内部最高温度为82℃,表面最高温度为52℃。 

后经检查发现,每段胸墙均出现了1~3条贯通性裂缝。 

工程完工后,整条防波堤作为-个单位工程进行了质量评定,施工单位作为核定单位,对单位工程的质量等级进行了核定。

问题:

1.本工程的施工组织设计审批手续是否完善?说明理由。

2.扭王字决安装方法是否正确?说明理由。

3.计算胸墙混凝土配合比中的粉煤灰用量。要求列出计算过程。

4.分析本工程胸墙产生裂缝的主要原因,并说明应采取的防裂措施。

5.本工程单位工程划分是否正确?并说明理由。

6.本工程单位工程质量等级核定方法是否正确?并说明理由。

考点:一级建造师港口与航道工程2007年一级建造师《港口与航道工程》考试真题及答案解析
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男,24岁,入院6小时后急起出现头痛、呕吐、腹泻、流泪、流涕、打哈欠、全身骨头痛、坐立不安。

对该患者采集病史时应特别注意询问()。

A.头痛史

B.平时睡眠情况

C.药物滥用史

D.吸烟史

E.呕吐、腹泻的程度

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谐振腔的作用有()

A.产生和维持光放大

B.选择输出光的方向

C.选择输出光的波长

D.以上都是

E.以上都不是

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DES算法的标准分组长度、真实用到的加密密钥长度、迭代轮次、每次迭代用到的字密钥长度分别为()

A.56、56、8、56

B.64、56、16、48

C.64、56、15、48

D.64、56、16、46

E.128、56、16、48

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中枢性尿崩症与原发性肾性尿崩症的鉴别点是

A.禁水试验
B.血钠水平
C.血渗透压
D.尿渗透压与尿比重
E.以上都不是

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It is simple enough to say that since books have classes -- fiction, biography, poetry -- we should separate them and take from each what it is right and what should give us. Yet few people ask from books what can give us. Most commonly we come to books with blurred and divided minds, asking of fiction that it shall be true, of poetry that it shall be false, of biography that it shall be flattering, of history that it shall enforce our own prejudices. If we could banish all such preconception when we read, that would be an admirable beginning. Do not dictate to your author; try to become him. Be his fellow-worker and accomplice. If you hang back, and reserve and criticize at first, you are preventing yourself from getting the fullest possible value from what you read. But if you open your mind as widely as possible, then signs and hints of almost imperceptible fineness, from the twist and turn of the first sentences, will bring you into the presence of a human being unlike any other. Steep yourself in this, acquaint yourself with this, and soon you will find that your author is giving you, or attempting to give you, something far more definite. The 32 chapters of a novel -- if we consider how to read a novel first -- are an attempt to make something as formed and controlled as a building: but words are more impalpable than bricks; reading is a longer and more complicated process than seeing. Perhaps the quickest way to understand the elements of what a novelist is doing is not to read, but to write; to make your own experiment with the dangers and difficulties of words. Recall, then, some event that has left a distinct impression on you -- how at the comer of the street, perhaps, you passed two people talking. A tree shock; an electric light danced; the tone of the talk was comic, but also tragic; a whole vision, an entire conception, seemed contained in that moment.
But when you attempt to reconstruct it in words, you will find that it breaks into a thousand conflicting impressions. Some must be subdued; others emphasized; in the process you will lose, probably, all grasp upon the emotion itself. Then turn from your blurred and littered pages to the opening pages of some great novelist -- Defoe, Jane Austen, Hardy. Now you will be better able to appreciate their mastery. It is not merely that we are in the presence of a different person -- Defoe, Jane Austen, or Thomas Hardy -- but that we are living in a different world. Here, in Robinson Crusoe, we are trudging a plain high road; one thing happens after another; the fact and the order of the fact is enough. But if the open air and adventure mean everything to Defoe, they mean nothing to Jane Austen. Here is the drawing-room, and people talking, and by the many mirrors of their talk revealing their characters. And if, when we have accustomed ourselves to the drawing-room and its reflections, we turn to Hardy, we are once more spun around. The moors are round us and the stars are above our heads. The other side of the mind is now exposed -- the dark side that comes uppermost in solitude, not the light side that shows in company. Our relations are not towards people, but towards Nature and destiny. Yet different as these worlds are, each is consistent with itself. The maker of each is careful to observe the laws of his own perspective, and however great a strain they may put upon, they will never confuse us, as lesser writers so frequently do, by introducing two different kinds of reality into the same book. Thus to go from one great novelist to another -- from Jane Austen to Hardy, from Peacock to Trollope, from Scott to Meredith -- is to be wrenched and uprooted; to be thrown this way and then that. To read a novel is a difficult and complex art. You must be capable not only of great fineness of perception, but of great boldness of imagination if you are going to make use of all that the novelist -- the great artist -- gives you.

According to the passage, the process of writing is ______.

A.dangerous

B.interesting

C.difficult

D.tragic

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