We can work on Applying engineering principles

  1. Apply engineering principles to realistic cases of sufficient complexity to require judgement in
    the selection of and application of appropriate design principles and material use.
  2. In response to a relevant engineering problem, carry out calculations that lead to a design
    solution.
  3. Present relevant information, calculations and sketches in a clear and unambiguous way.
    Assignment Objective
    This assignment is concentrated to provide the adequate ability to analyze and designing simple
    structures in civil engineering work. Students are exposed to the concepts, principles tools, and
    techniques of analysis and design of the structure. This also provides an opportunity for the
    students to obtain a solid understanding of structural stability and behavior under different
    loading conditions. This will assist Civil Engineering students to carry out more accurate analysis
    and efficient design in construction work.
  4. Introduction- write the suitable introduction. [5 marks]
  5. Make suitable analysis of the bay in order to calculate the load on slab, beams and then
    on columns. [15 marls]
  6. Design the slab as it is one-way. [15 marks]
  7. Make suitable calculations for reinforcement (bending + shear) for any one single beam
    for limit state of strength following Eurocode 2. [15 marks]
  8. Make suitable calculations for reinforcement (main reinforcement + Shear links) for any
    one single column for limit state of strength following Eurocode 2. [15 marks]
  9. Provide suitable drawings wherever necessary. [5 marks]
  10. Discussions: – make suitable discussion about your design [10 marks]
  11. Conclusions – make conclusions of your design exercise. [10 marks]
  12. References & citations- provide minimum 5 references [5 marks]
    Figure:1. (a) plan of the bay and (b) 3D view of the bay.
    Structural Design (CIVL 0012) – Spring 20 – Assignment 1 – Session A & B– QP
    MEC_AMO_TEM_034_01 Page 3 of 9
    Student Individual Data & design procedure:
    Student individual data is provided in the attached excel sheet. The design for beam section can be started
    by assuming 250 mmx 350 mm and column section, say, 350 mmx 350 mm and then the required
    reinforcement can be calculated. If the assume section dimensions are not appropriate, change it and
    achieve the best cost-effective design.
    Rules & Regulations:
    • All resources should be cited using CU Harvard style.
    • The final assignment must have a Title page, Table of Contents, References/ bibliography using
    CU Harvard Style and page numbers.
    • Title Page must have Assignment Name, Module name, Session, your name, ID, and the name of
    the faculty.
    • Softcopy in word format is to be submitted through Turnitin link on Moodle.
    • Viva will be conducted after the assignment submission as per the dates informed earlier.
    Guidelines:
    • Assignment must be computer typed.
    ➢ Font – Times New Roman
    ➢ Font – Style – Regular
    ➢ Font – Size – 12
    ➢ Heading should be with Font Size 14, Bold, Capital and Underline.
    • Explain with suitable diagrams wherever required. Diagrams must be drawn using suitable
    software or by pencil.
    • Each student has to do the assignment individually / Students have to do the assignment
    collaboratively and each student should write a brief reflection on their contribution and learnings
    from group work.
    • You can refer books in eLibrary or use internet resource. But you should not cut and paste material
    from internet nor provide photocopied material from books. The assignment answers should be
    in your own words after understanding the matter from the above resources.

Sample Solution

It has frequently been expressed that 1943 was a watershed in the advancing universe of melodic theater. Examine this announcement and think about the collection and class of pre-1943 with post-1943 melodic theater. It has been asserted by numerous that 1943 was a watershed in the advancing universe of melodic theater. There is a commonness of proof to recommend this is genuine that will be examined inside this exposition. One of the principle ways this change can be seen is through the changing manners by which ladies were spoken to and their job inside the melodic entertainment business world. Truth be told, women’s liberation and the changing perspectives on ladies’ job in theater was both a compelling variable of this defining moment and a result of the advancement made. It could be contended that 1943 was a defining moment for melodic theater in light of the portrayal of ladies as taught, working citizenry, the open doors given to ladies of shading, and the stage it given to ladies in the business, for example, executives and choreographers (Van Aken, 2006, p.18). Prior to 1943, the melodic entertainment business world was overflowing with severe mentalities towards ladies which can be seen in famous shows of the time, for example, in Follies, Sally (1920), and The Gingham Girl (1922), (Barnes, 2015, P.14). Perhaps the greatest wellspring of chance ladies had in the mid twentieth century went along as Ziegfeld’s Follies. In any case, the standards to be utilized as an entertainer in the Follies was very severe, in a statement from Ziegfeld he records the particular ways the young ladies should glance so as to be recruited, completing his announcement with ‘The eyes ought to be huge and expressive. An ordinary profile is a chosen resource… The legs must be shapely… the extents of the figure must be great.’ (Kantor and Andrews, 2004, n/a). This statement shows the unreachably elevated requirements men had for ladies during the 20s and the generalization of them in the jobs of ensemble young ladies. This is significant in light of the fact that it shows that ladies weren’t profoundly regarded before the 1940s. It could in all likelihood be contended that the arrangement of Ziegfeld’s employing procedure and the glorification of those picked to perform ‘set up for current sexual generalization’ (Norman, 2018, para.1). This can be additionally exemplified in depictions of the Follies exhibitions. The ladies are portrayed as ‘incredibly foul’, (Mates, 1987, p.129), demonstrating the degree of the consideration on their bodies. Indeed, Ziegfeld’s shows just demonstrated to get increasingly provocative every year, ‘He went from the intriguing to the express after some time anyway never entirely going too far to full bareness.’ (Legacy.com, 2018, para.7). This adds extra proof to show the complexity of how ladies were spoken to before 1943. Then again, it could be contended that Follies gave ladies a feeling of self-assurance that they clutched for the remainder of their lives, (Norman, 2018, para.3). That is reasonable for those ladies, however what sort of message did this send to the young ladies not picked to be in the shows? It gave the straightforward ramifications that without having a ‘great’ body, they were not deserving of the consideration given in any case. This assists with demonstrating the difference between the manner in which ladies were treated in the mid twentieth century contrasted with after the 40s support up the possibility that 1943 was a defining moment. This thought proceeded for a long time is still around today in specific zones of execution, for example, Moulin Rouge entertainers. Today, the females are required to be a base tallness of 5’9 and have ‘A thin elegant figure’ (Moulin Rouge (Site Officiel), 2019, n/a). This bears similitudes to Follies, which is reasonable as it is hard to totally destroy this sort of externalization. Be that as it may, it is less mainstream now, as melodic performance center is less centered around introducing sexuality. Another of Ziegfeld’s shows was Sally (1920), a melodic about a dishwasher who turns into a Follies star. This storyline was normal in any case, as this sort of ‘clothes to newfound wealth story, otherwise called ‘Cinderella musicals’, turned out to be exceptionally well known during the 20s. The ordinary plotline of these accounts would comprise of a youthful, generally poor, working young lady, who picks up the love of an attractive tycoon. Despite the fact that by and large she additionally increases an effective profession (The New York Public Library, 2018, para.19). This made the suggestion that ladies at the time required a progressively fruitful man to improve their lives and to get any sort of profession. Accordingly, this shows men were viewed as the more prevailing sex. An extra issue introduced by these storylines turning out to be so well known is featured in this statement, ‘these early and mid-twentieth-century Broadway musicals depicted courageous women conflicted between female home life and expert self-sufficiency’ (Cantu, 2015, p.3). It proposes that there is an expense for not fitting in with the social develops of ladylike conduct at that point. Maybe, this was the start of musicals making solid social and political explanations through addressing whether ladies ought to have more freedom. In any case, one motivation behind why ‘Cinderella musicals’ were so refreshing at the time may have been that female crowds had the option to see the beginnings of the idea of ladies accomplishing fruitful professions and working during the 20s. During the second modern transformation more occupations opened up for ladies (Burnette, 2011, p.56). The expanded perceivability of ladies in the working environment was being reflected in these musicals. For example, Mary Thompson in The Gingham Girl (1922) ‘who follows her sweetheart to Manhattan, just to out-succeed him in business’ (The New York Public Library, 2018, para.20). The subsequent universal war, 1939-1945, realized a ton of progress just as giving ‘phenomenal openings for work for ladies’ (Colman, P. 1995, n/a). To detailed, because of men leaving to war, ladies needed to turn out to be progressively dynamic in the work power and the possibility of lady turned out to be all the more every now and again equivalent with working individuals, bringing the idea of the working lady. Since melodic theater consistently strived to reflect reality, it appeared well and good that this change offered an entirely different side to ladies which was utilized in melodic performance center as new intriguing jobs to speak to the everchanging jobs in the public eye. This can be found in the Rodgers and Hammerstein show Oklahoma (1943), when as opposed to seeing a gathering of melody young ladies opening the show, which was progressively regular in the revue where ‘upwards of 280 theme young ladies may be utilized;’ (Mates, 1987, p.148), the window ornaments rose to uncover the basic scene of a lady agitating spread, something that right now would be viewed as an ordinary assignment. As theater has consistently strived to speak to reality, as recently referenced, this shows how ladies were getting less observed as externalized amusement and more as dedicated individuals. This thought of the working lady was also exemplified by genuine ladies working in the big time industry. Indeed utilizing Oklahoma for instance, we can take a gander at crafted by Agnes de Mille who was said to have reformed the manner in which move was used in melodic theater. This was finished with her fantasy artful dance scene in which move was incorporated into the storyline of the melodic just because. It was said in the book ‘America’s Musical Stage’ by Julian Mates, ‘Agnes de Mille’s fantasy succession moves pushed the story ahead, to such an extent that no melodic with genuine claims could manage without a fantasy artful dance for quite a long time to come.’ (Mates, 1987, p.190). This shows the quality of the effect de Milles work had on later shows and the manner in which move was utilized in melodic theater. Others saw the size of accomplishment accomplished by this new style of movement and how it supported the movement of the storyline of the melodic itself, and through this understood it was something that could and ought to be duplicated through different works of melodic theater. This is obvious in crafted by different choreographers. Be that as it may, de Mille’s work set the development of melodic venue move moving in that move began being utilized in a diegetic way as opposed to inside a fantasy. ‘Jerome Robbins utilizes diegetic move numbers’, (Symonds and Taylor, 2013, p.86). This implies the characters realize they are moving, taking into account a progressively unadulterated combination of move into the melodic, it likewise gives the characters chance to remark and watch (Symonds and Taylor, 2013, p.88). These renowned move numbers from musicals, for example, West Side Story (1957) and Gypsy (1959), were moved inside the conditions of the exhibition. It could be contended that this shows how crafted by Agnes de Mille changed how move was utilized in the melodic entertainment business world after 1943. Another focal point to be examined, concerning the impact the war had on ladies’ job in the melodic entertainment business world, would be that it opened up numerous open doors for ladies of shading at the time which was significant in this time paving the way to the social equality time. It was said in Post-WWII African-American Musicals by Laurence Maslon: ‘the quantity of dark entertainers in plays and musicals on Broadway in 1946 was in excess of multiple times the number before World War II started.’ To reword another statement from this source, the expanded open doors was an impression of the social changes during and after the second universal war (Maslon, 2018, para.3). This could be on the grounds that such a large number of dark individuals, including ladies, joined the military in world war 2 and aided in the war exertion. It was said that they ‘put forth important commitments to the war attempt, and earned high acclaims and acclamations for their battles and forfeits’, (Historyplace.com, 2018, n/a), viably changing numerous individuals’ perspectives, and changing the substance of melodic performance center during the 40s. This can be found in the various shows that came out at the time comprising of an all dark cast or an incorporated cast, for example, the shows Carmen Jones (1943) w>

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