A comparison between Jean Rhys and Una Marson Essay Example for Free

A comparison between Jean Rhys and Una Marson Essay Voyage into the Metropolis: Exile in the Works of Jean Rhys and Una Marson. In Jonathan Millers 1970 production of Shakespeares The Tempest the character of Caliban was cast as black, therefore reigniting the link between the Prospero/Caliban paradigm as the colonizer/colonized. It was not a new idea, indeed Shakespeare himself envisaged the play set on an island in the Antilles and the play would have had great appeal at the time when new territories were being discovered, conquered, plundered and providing seemingly inexhaustible revenue for the colonisers. What is particularly interesting, however, is how powerful the play later becomes for discourse on colonialism. This trope of Caliban is used by George Lamming in The Pleasures of Exile where he likens Prospero in his relationship with Caliban, to the first slave-traders who used physical force and then their culture to subjugate the African and the Carib, overcoming any rebellion with a self righteous determinism. In The Pleasures of Exile Lamming sees Caliban as: Man and other than man. Caliban is his convert, colonized by language, and excluded by language. It is precisely this gift of language, this attempt at transformation which has brought about the pleasure and the paradox of Calibans exile. Exiled from his gods, exiled from his nature, exiled from his own name! Yet Prospero is afraid of Caliban. He is afraid because he knows that his encounter with Caliban is, largely, his encounter with himself. 1 The Prospero/Caliban paradigm is a very relevant symbol for the colonizer/colonized situation of the West Indies but it nevertheless remains a paternalistic position. Where does that leave women of the Caribbean? It could be argued that the Caribbean woman has been even further marginalized. That in making Caliban the model of the Caribbean man it is therefore providing him with a voice. Yet nowhere in the Tempest is there a female counterpart, rendering the Caribbean woman invisible as well as silent and ignoring an essential part of their historical culture. Another issue raised here, is that Caribbean literature has for many years been male dominated. Just as the colonizer sought to ignore and marginalize their savage Other so the Caribbean male has ignored their female counterpart. Opal Palmer Adisa, in exploring this issue, believes that it is out of this patriarchal structure, designed to make her an object, part of the landscape to be used and discarded as seen fit by the colonizer, that the Caribbean woman has emerged.2 It was out of such a patriarchal structure that Jean Rhys and Una Marson emerged. The writing of both women revise and expand theme and personae, subverting a colonial and patriarchal culture. Both women may exist in different ethnological and ontological realms but they both exist in worlds which have, at one time or another, attempted to censure, silence or ignore the ideals and interests of women3 Like many of their male Caribbean counterparts to succeed them, their writing was greatly influenced by voyaging into the colonial metropolis and living in exile. In this essay I will discuss the importance of that journey in seeking to find a voice, an identity, and even a language to challenge established notions of Self, gender and race within the colonial structure. But essential to their experience is their struggle. Naipaul recognised, in Rhys, the themes of isolation, an absence of society or community, the sense of things falling apart, dependence, loss.4 This could also be said of Marson. Jean Rhys was born Ella Gwendoline Rees Williams on 24th August 1890, in Roseau, Dominica to a Creole mother of Scottish descent and a Welsh father who was a doctor. Rhys left Dominica in 1907, aged sixteen and continued her education in a Cambridge girls school and then at the Academy of Dramatic Art which she left after two terms. Rhys experienced feelings of alienation and isolation at both these institutions and these feelings were to stay with her for much of her life. Upon pursuing a career as a chorus girl under a variety of names Rhys embarked on an affair with a man twenty years older than herself and which lasted two years. It is broadly accepted that this early period of her London life formed the structure for Voyage In The Dark, and like all of Rhyss novels, explores homelessness, dislocation, the marginal and the migrant. The character of Anna, like most of her female protagonists exists in the demimonde of city life, living on the wrong side of respectability. What Rhy s does effectively in this novel is to centralize the marginalized, those subjects who belong nowhere, between cultures, between histories.5 Una Marson was born in rural Jamaica in 1905. Her father was a well respected Baptist minister and as a result of his standing within the community Marson had the opportunity to be educated on a scholarship at Hampton High School, a boarding school for mainly white, middle class girls. After finding employment as a stenographer, Marson went on to edit the Jamaican Critic, an established literary publication, and from 1928-1921, her own magazine The Cosmopolitan. Having established herself as a poet, playwright and womens activist Marson made the decision to travel to Britain. Her achievements in London were impressive; a social activist within the League of Coloured Peoples which led to her taking a post as secretary to the deposed Emperor Haile Selassie and later she was appointed as a BBC commentator. In reality, however, Marson, like Rhys found the voyage into the Metropolis very difficult. Facing blatant racial discrimination like so many West Indian women migrants of the 1950s, Una found herself blocked at every turn. She complained and cried; she felt lonely and humiliated,. 6 In spite of many literary and social connections she remained an isolated and marginal figure. Her poetry displays the uncertainty of cultural belonging where her language ties her to colonialism yet also provides her with a powerful tool with which to challenge it. In placing Rhys alongside Marson as pioneering female writers, it is important to explore the notion of nationality, of being Caribbean and to question the grounds upon which such ideas are constructed. Both women were writing at the same time, having been born and educated in the British colonies. Both these writers, whose lives span the twentieth century, are situated at the crossroads of the colonial and post-colonial, the modern and post modern, where the threat of fascism and war result in anti colonial struggles and eventual decolonisation across the world. Their voyages from the colonies into the metropolitan centre generate similar experiences. What is clear with both is that by journeying into the metropolis, as women, they occupy a double marginal position within an already marginalized community. Their journey can be seen as an exploration of displacement where, according to Edward W. Said, the intellectual exile exists in a median state, neither completely at one with the new setting nor fully disencumbered of the old, beset with half involvements and half attachments, nostalgic and sentimental at one level, an adept mimic or a secret outcast on the other.7 Rhys and Marson, having left the Caribbean are asking us to consider what it means to write from the margins. Within their work, both women challenge notions of womens place within society and womens place as a colonized subject in the metropolitan centre. The protagonist, Anna Morgan, in Voyage in the Dark, reflects Rhyss own multi indeterminate, multi conflicted identity. Anna, like Rhys is a white descendent of British colonists and slave traders who occupy a precarious position of being inbetween. Hated by the Blacks for their part in oppressing the slaves and continuing to cling on to that superior social position, they are also regarded by the mother country as the last vestiges of a degenerate part of their own history best forgotten. Moreover, 1930s England, still under the shadow of Victorian moral dicta, continued to judge harshly a young woman without wealth, family, social position and with an odd accent. Throughout the novel Anna is identified with characters who are usually objectified and silenced in canonical works: the chorus girl, the mannequin, the demimondaine.8 Much has been made of her reading of Zolas Nana and indeed there are many parallels between the two characters. Anna, like Nana becomes a prostitute and in the first version of Voyage in the Dark Anna like Nana dies very young. There is of course the obvious anagram of her name but, as Elaine Savory highlights, some interesting revisions by Rhys. Whereas Zola, in Nana, creates a character who brings about the downfall of upper class men not through power but with only the unsophisticated currency of youth and raw female sexuality9 Rhys, in Anna, creates a character who is herself destroyed by men. In Rhyss version the men who use her youth and beauty are for the most part evidently cowardly or downright disreputable: Anna herself begins as naively trusting, passes through a stage of self destructive hopelessness and passivity and ends, in Rhyss preferred, unpublished version, by dying from a botched abortion.10 If we are to see Walter Jeffries as the original European, existing in a world viewed certainly by himself as principally ordered and reasonable then Rhys is, through this character, highlighting the degenerate aspect of using power to commodify and even destroy, thereby subverting the colonizers position in relation to the colonized. Through the character of Anna, Rhys explores those oppositions of Self and Other, male and female, black and white. Even though she outwardly resembles the white European, enabling her, unlike Marson, to blend visually within London, her association with the Caribbean sets her apart as between black and white cultures and as an exotic Other. This ambiguity of Annas position results in slippage. Anna and her family would have been regarded in the West Indies as the white colonizers. In England and in her relationship with Jeffries she becomes the colonized Other. In being read as the colonized subject Anna is continually having to adapt her world view and sense of identity to the perspective being imposed on her. A good example of this is the chorus girlss renaming her as the Hottentot aligning her more with the black African and demonstrating the homogenizing of the colonized peoples by the colonizers. This is similar to Spivaks belief that so intimate a thing as personal and human identity might be determined by the politics of imperialism.11 Interestingly, Hottentot is the former name for the Nama, a nomadic tribe of Southern Africa. A somewhat apt comparison which reflects Annas own nomadic existence as she moves from town to town as a chorus girl and from one bed sit to another. The term Hottentot developed into a derogatory term during the Victorian era and became synonymous firstly with wide hipped, big bottomed African women with oversized genitals and then with the sexuality of a prostitute. Jeffries is fully aware of the implications of the name Hottentot. In response to hearing Annas renaming he says, I hope you call them something worse back.12 Elaine Savory makes a strong connection between Annas renaming and her relationship with Jeffries, her eventual seducer. Whilst not looking at Annas body in an obvious way, eventually the transaction between them is understood fully on his side to be a promise of sexual excitement from a white woman whom he perceives as having an extra thrill presumably from association with racist constructions of black females in his culture.13 Franz Fanon, in his book Black Skin, White Masks perceives these complex colonial relations as being in a state of flux rather than fixed or static. In his introduction to Fanons text, Homi Bhabha highlights this point, stating that the familiar alignment of colonial subjectsBlack/White, Self/Otheris disturbedand the traditional grounds of racial identity are dispersed.14 So it is in the relationship between Jeffries and Anna. In transposing the colonizers stereotypical images of a black woman onto Anna he is disrupting and dispersing those traditional grounds of racial identity. Moreover, Anna is subconsciously enacting a mediated performance, aware of her impact upon him and the implications of her actions, in an attempt to adhere to his preconceptions of her. The relationship cannot be sustained on these fundamentally unstable preconceptions. Anna, both as a female and racial Other is penetrated by Jeffries and with the exchange of money is commodified. Without independent means Anna becomes that purchasable girl who is at the mercy of and eventually becomes dependent upon the upper middle class Jeffries. The relationship between these two characters reflects Rhyss own location in the world where the West Indies was at the time still a commodity of the British Empire. In another analysis of the colonial stereotype, Homi Bhabha challenges the limiting and traditional reliance of the stereotype as offering, at any one time, a secure point of identification on the part of the individual,15 in this case Jeffries and Hester. Bhabha does not argue that the colonizers stereotyping of the colonized Other is as a result of his security in his own identity or conception of himself but more to do with the colonizers own identity and authority which is in fact destabilized by contradictory responses to the Other. In order to maintain a powerful position it is important, according to Bhabha, for the colonizer to identify the colonized with the image he has already fixed in his mind. This image can be ambiguous as the colonized subject can be simultaneously familiar under the penetrable gaze of the all seeing, all powerful colonial gaze and be incomprehensible like the inscrutable Oriental. The colonized can be both savageand yet the most obedient and dignified of servants; he is the embodiment of rampant sexuality and yet innocent as a child; he is mystical, primitive, simpleminded and yet the most worldly and accomplished liar , and the manipulator of social forces.16 In short, for Bhabha, the relationship between the colonizer and the colonized is riddled with contradictions and inconsistencies which, when imposed upon the colonized Other, cause a crisis of identity. So it is with Anna. Jeffries upon first meeting with the very young Anna can see that she is as innocent as a child and is most obedient sexually, but by her association with the Caribbean and the Hottentot as I have previously explored, she is subsequently attributed with being the embodiment of rampant sexuality resulting in his taking of her virginity, abandoning her to prostitution but also leading to as Veronica Clegg observes a loss of temporal referents17 Annas stepmother, Hester, also attempts to impose an identity upon Anna which not only conflicts with Annas own sense of identity but is also based around stereotypical perceptions. . Hester, whose voice represents a repressive English colonial law18 believes that Annas fathers troubles resulted from his having lost touch with everybody in England19 and that these severing of ties with the Imperial motherland is a signal to her that he was failing,20 losing his identity, reduced to the level of the black inhabitants of the island. This idea of contamination and racial reduction is explored by Paul B. Rich who explains that there was a belief in the early twentieth century that white people in the tropics risked in the absence of continual cultural contacts with their temperate northern culture, being reduced to the level of those black races with whom they had made their unnatural home.21 In Hesters eyes this apparent loss of identity is also experienced by Anna. She continually criticizes her speech, her relationship with Francine the black servant, and also insinuates degenerative behaviour on the part of her family, particularly Uncle Bo. Hesters views reflect the growing disapproval in England at that time, of relationships between white people and the black population in the West Indies. Inter-racial relationships were discouraged for fear of contamination of the white Self. In voicing her disapproval of Annas friendship with Francine along with her continual use of the racist and derogatory term nigger, Hester is alluding to the fact that, in her opinion, Anna, especially through her speech, has indeed been contaminated and reduced racially and that Annas association with Francine thwarts her attempts to reconnect her with the colonizers cultural contacts. Hester rails that she finds it impossible to get you [Anna] away from the servants. That awful sing-song voice you had! Exactly like a nigger you talkedand still do. Exactly like that dreadful girl Francine. When you were jabbering away together in the pantry I never could tell which of you was speaking.22 Hesters constant criticism only serves to undermine Annas real identity and dislocate her further from the Caribbean world she once inhabited and the alienating London world she is now experiencing. Her accent sets her apart, drifting between two worlds. Annas difficulties in negotiating these two worlds is a result of the return of the diasporic to the metropolitan centre where the perplexity of the living is most acutely experienced.23 This can certainly be seen in her response to the weather which, according to Bhabha, invokes the most changeable and imminent signs of national difference24 The novel opens with; It was as if a curtain had fallen, hiding everything I had ever known. It was almost like being born again. The colours were different, the smells different, the feeling things gave you right down inside yourself was different. Not just the difference between heat and cold; light, darkness; purple, grey. But a difference in the way I was frightened and the way I was happy. I didnt like London at first. I couldnt get used to the cold.25 And later upon arriving in England with Hester she describes it as being divided into squares like pocket-handkerchiefs; a small tidy look it had, everywhere fenced off from everywhere else 26and then in London where the dark houses all alike frowning down one after another27 Throughout the novel Anna continually experiences feelings of being enclosed. Many of the bedsits are restricting and box-like. On one occasion she remarks that this damned rooms getting smaller and smallerAnd about the rows of houses outside gimcrack, rotten-looking and all exactly alike.28 The many small rooms between which Anna moves emphasize her disempowerment through enclosed spaces. These spaces, in turn, serve as metaphors for the consequences in voyaging into the metropolitan centre. She is at once shut inside these small monotonous rooms and shut out from that world which has sought to colonize her. It is perhaps ironic that the further she moves into the centre of the city, ending up as she does on Bi rd Street, just off Oxford Street , the more she is shut out and marginalized by that imperialist society. Her memories of the West Indies are in sharp contrast to her impressions of England. The images of home are always warm, vivid and exotic, Thinking of the walls of the Old Estate House, still standing, with moss on them. That was the garden. One ruined room for roses, one for orchids, one for ferns. And the honeysuckle all along the steep flight of steps.29 When comparing the two worlds she remarks to herself that the colours are red, purple, blue , gold, all shades of green. The colours here are black, grey, dim-green, pale blue, the white of peoples faces like woodlice. 30 Her memory of home is experienced sensuously as she recalls the sights and smells: Market Street smelt of the wind but the narrow street smelt of niggers and wood smoke and salt fishcakes fried in lard and the sound of the black women as they call out, salt fishcakes, all sweet an charmin, all sweet an charmin.'31 Anna attempts to convey this richness to Jeffries. His failure to appreciate the beauty she describes merely underlines the differences between the two. He expresses a preference for cold places remarking that The tropics would be altogether too lush.32 Jeffriess reaction to the West Indies in fact reflects the colonizers view that the ruined room for roses and orchids portray a disorder, a garden of Eden complete with its implications of moral decay and as Bhabha states, a tropical chaos that was deemed despotic and ungovernable and therefore worthy of the civilizing mission.33 Annas association with this world sets her up, in Walters eyes, as a figure representing a secret depravity promising forbidden desires. Anna, like the West Indies is something to be overpowered, enslaved and colonized, where the colonizer seeks to strip their identity and impose their own beliefs and desires. It is significant, therefore, that following this scene Anna loses her virginity to Jeffries and recalls the memory of the mulatto slave girl, Maillotte Boyd, aged 18, whose record Anna once found on an old slave list at Constance.34 Like Maillotte Boyd, Anna is now merely a commodity and Jeffries has no intention of ever seeing her as an equal. Her purity, in his eyes isnt worth preserving as he already considers her the contaminated Other. By his actions he succeeds in maintaining that patriarchal imperialism which relies on institutional forms of racial and national separateness. Anna, as a twentieth century white Creole, is no freer than the nineteenth century mulatto slave. Just as Maillotte Boyd is, as racially mixed, suspended between two races, so Anna as a white Creole is suspended between two cultures, leaving her dislocated. Annas voyage into the imperialist metropolis leads to boundaries and codes of behaviour, language and dress being constantly imposed upon her. She is aware for example of the importance of clothes as a means of controlling her social standing and also her standing as a woman. Through her dress Anna almost becomes that elegant white lady, mimicking Londons female high society. For Jeffries, Anna represents the menace of mimicry, which , according to Bhabha is a difference which is almost nothing but not quite and which turns to menace- a difference that is total but not quite.35 This mimicry serves to empower Anna as it ultimately destabilises the essentialism of colonialist ideology, resulting in Jeffries imposing upon Anna the identity of the West Indian Other This in turn leads to feelings of loss, alienation and dislocation, a rejection of being white and a desire to be black. I always wanted to be black. I was happy because Francine was there.Being black is warm and gay, being white is cold and sad.36 Annas association with Hester meant that she hated being white. Being white and getting like Hester, old and sad and everything.37 Yet the warmth she expresses in her memories of Francine are always tempered by her realisation that Francine disliked her because I [Anna] was white.38 Her feelings of being between cultures and feeling dislocated are never fully resolved. Annas voyage in the dark, reflects Rhyss own sense of exile and marginality as a white West Indian woman. Teresa OConnor remarks that Rhys, herself caught between places, cultures, classes and races, never able to identify clearly with one or the other, gives the same marginality to her heroines, so that they reflect the unique experience of dislocation of the white Creole woman.39 The language used to express feelings of exile and loneliness, destitution and dislocation is both sparse and economic. It is neither decorative nor contrived, devoid of sentiment or without seeking sympathy. In commenting upon an essay written by Rhys discussing gender politics, Gregg writes that It is important to note her [Rhyss] belief that writing has a subversive potential. Resistancecan be carried out through writing that exposes and opposes the political and social arrangements.40 Helen Carr, in her exploration of Rhyss language believes that: Rhys in her fictions unpicks and mocks the language by which the powerful keep control, while at the same time shifting, bending, re-inventing ways of using language to open up fresh possibilities of being.41 Una Marson, another Caribbean to voyage into the metropolis, also experienced loneliness, isolation and a struggle with the complexity of identity. Like Rhys, Marson fought with these feelings throughout her life, resulting in long periods of depression. Her belief in womens need for pride in their cultural heritage established Marson as the earliest female poet of significance to emerge in West Indian literature.42 She not only challenged received notions of womens place in society but also raised questions about the relationship of the colonized subject to the mother country43 There was a considerable amount of poetry emerging out of the West Indies around this time but most of it was dismissed as being not truly West Indian,44 the reason for this being partly because many of the writers were English but also because many of the styles used by these writers mimicked colonial forms. Many of Marsons early poetry reflects this mimicry showing a reliance upon the Romantics of the English poetic tradition, particularly Shelley, Wordsworth and Byron. The poem Spring in England reveals this indebtedness to the Romantics, including as it does a stanza where, having observed the arrival of Spring in London, the poet asks: And what are daffodils, daffodils Daffodils that Wordsworth praised? I asked. Wait for Spring, Wait for the Spring, the birds replied. I waited for Spring, and lo they came, A host of shining daffodils Beside the lake beneath the trees (The Moth p6)45 Clearly there are echoes of Wordsworths Daffodils throughout the stanza, reflecting the drive by colonialism through education to eradicate the West Indian selfhood. Yet for Marson this harnessing of English culture not only posed few problems but indeed was, I would argue, a necessary step in her voyage of self discovery. As seen with Rhys, mimicry was a subversive threat to colonial ideology, especially through language. Homi Bhabhas notion of mimicry seeks to explore those ambivalences of such destabilizing colonial and post-colonial exchanges. The menace of mimicry is its double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority. The ambivalence of colonial authority repeatedly turns from mimicry a difference which is almost nothing but not quite to menace a difference that is almost total but not quite. And in that other scene of colonial power, where history turns to farce and presence to a part can be seen the twin figures of narcissism and paranoia that repeat furiously, uncontrollably.46 Bhabhas essay in recognising the power, the play and the dynamics between the colonizer and the colonized offers an alternative to the pessimistic view held by V.S. Naipaul who believed that West Indian culture was doomed to mimicry, unable to create anything original. Marsons mimicry of the Romantics could be seen as a preparation to enter the colonizers metropolis, and to attempt to assimilate into the colonizers world. In making that voyage to the metropolis, Una Marson succeeds in taking that step from the copy to the original. By remaining in Jamaica Marson risked remaining in an environment too rigidly ingrained by colonial prescriptions. Una Marsons voyage into the heart of the Empire, however, resulted in intense disappointment. For the first time, Marson experienced open racism and according to Jarrett-McCauley The truth was that Una dreaded going out because people stared at her, men were curious but their gaze insulted her, even small children with short dimpled legs called her NiggerShe was a black foreigner seen only as strange and unwanted. This was the Fact of Blackness which Fanon was to analyse in Black Skins, White Masks(1952), that inescapable, heightening level of consciousness which comes from being dissected by white eyes. 47 Unlike Rhys, Marson was finding it impossible to blend visually within London. Consciousness of her colour made Marson conscious of her marginality. This consciousness led her seriously to question the values of the mother country. Marsons work moved from mimicry to anti-patriarchal discourse, seen in her poem Politeness where she responds to the William Blake poem Little Black Boy with: They tell us That our skin is black But our hearts are white We tell them That their skin is white But their hearts are black (Tropic Reveries p 44) The poem demonstrates Marsons growing resentment at being alienated by the colonial power. There is an uncertainty in her desire to both belong and to challenge, echoing Rhys in her sense of cultural unbelonging. Those anti-patriarchal feelings are present once more in her poem Nigger where she communicates the anger she feels at being abused and marginalized as the racial Other. They call me Nigger Those little white urchins, They laughed and shouted As I passed along the street, They flung it at me: Nigger! Nigger! Nigger! She retorts to this abuse furiously with: You who feel that you are sprung Of earths first blood, your eyes Are blinded now with arrogance. With ruthlessness you seared My peoples flesh and now you still Would crush their very soul Add fierce insult to vilest injury.48 In its repetition of the shocking term Nigger, Marson is confronting the white colonialists use of the word to exert power over and oppress the colonized. The violence of its use reflects the violence of their shared history where Of those who drove the Negroes / To their death in days of slavery, regard Coloured folk aslow and base.49 In highlighting this history of violence, oppression and slavery, Marson is attempting to invert this oppression and dislodge the notion of white supremacy, whilst attempting to negotiate a position from West Indian to African and in doing so, fashion an identity. By writing the poem in the first person singular and moving from They to You when addressing the white colonizers, Marson succeeds in centralizing herself and reversing the binary system of Self and Other. Nigger marks Marsons sharpened perspective on issues such as racism and identity. Her voyage into the metropolitan centre triggers those emergent identifications and new social movements[being]played out.50 It was a time in Marsons life where she was made to feel inadequate, lonely and humiliated but it also roused her to resist the corrosive force of her oppressive world.51 Nigger reveals this sense of belonging and not belonging felt by Marson, of being part of the empire but never part of the Motherland, yet it simultaneously challenges the very essentialism in which the colonial Self is rooted. Moreover, the hostility she experiences in many ways acknowledges the success of Marsons performance as a hybrid. Marsons frustration and anger was compounded by the fact that in being middle class and educated she possibly saw herself as a notch above the poor, black working class women from the old communities in Cardiff, Liverpool and London52 Marson explores this question of how middle class West Indians negotiate being educated and yet marginalized and even considered inferior in her play London Calling. The play, based on the experiences of colonial students in London charts the story of a group of expatriates who, upon being invited to the house of an aristocratic English family, dress up in outlandish native costume and speak in broken English. The play, a comedy, takes a light hearted look at the stereotypical images held by the British, at the same time countering the myth of black inferiority. There is, in the play, a curious twist as the students from Novoko are presented as black versions of the British in their dress and behaviour, mimic men and yet they themselves attempt to mimic their own folk culture. They are eventually discovered by one of the family, Larkspur, who then proposes marriage to Rita, one of the Novokans. The play ends with Rita declining Larkspurs proposal in favour of Alton, another Novokan. This rejection of Larkspur places Rita in a powerful position. Rita is no longer the undesirable Other, she has resisted the oppressive world of the colonialists and placed herself as the centralised Self. Rita is Marsons fantasy where the black woman is recognised as beautiful and an equal. Marsons activities in the League of Coloured Nations gave her purpose, direction and the opportunity to advance her political education whilst introducing her to the Pan African movement a sort of boomerang from the horrors of slavery and colonialism, to which Una, like many of her generation, was being steadily drawn.53 Marsons work around this time reflects a desire to reclaim and restore that Other cultural tradition, a difficult task as the Caribbean was not an homogeneous agency and it was not easy to establish a pre-colonial culture. The ethnic mix was large and hybrid making the notion of Caribbeanness less easy to define. The Pan-African movement provided links with an alternative body to European colonialism and offered Marson a platform to renegotiate and redefine her idea of Caribbeaness and race, an option not offered to Rhys. Having established a sense of being a black person in a white imperialist centre, she now needed to make sense of being a black woman within this paternalistic centre. The poem Little Brown Girl attempts just this, constructing a dialogue of sorts between a white Londoner, whose gender is unclear, and a little brown girl. The poem begins with a series of questions put to the child: Little brown girl Why do you wander alone About the streets Of the great city Of London? Why do you start and wince When white folk stare at you Dont you think they wonder Why a little brown girl Should roam about their city Their white, white city? (The Moth, p11) The questioning of the little brown girls presence in London suggests a linguistic imperialism. It may be construed as the speaker challenging her right to be in the city, establishing her as the nameless, black Other. Her feeling of difference is emphasized in the repetition of the word white on the final line of the second stanza. The third stanza plays out an interesting reversal in notions of blackness. The speaker asks why she has left the little sunlit land / where we sometimes go / to rest and get brown54 alluding to the desire of white skinned people to tan which for the white colonialist signifies wealth, for the black Other being inferior and uneducated. From here there is a subtle shift of speaker and London is seen through the eyes of the little brown girl. Her perception of the city is distinctly unattractive where There are no laughing faces, / people frown if one really laughs and: Theres nothing picturesque To be seen in the streets, Nothing but people clad In Coats, Coats, Coats, (The Moth, p11) If the poem began with the strangeness of the brown girl to the white gaze, here it teases out those feelings of alienation felt by the little brown girl at being in such a cold, drab place, so different from her own home. Once more Marson creates a reversal in the stereotype as she seeks to objectify white people observing that the folks are all white -/ White, white, white, / And they all seem the same.55 In homogenizing the colonizers, the hybridity of the West Indians are then celebrated in the many varied skin tones of black and bronze and brown which are themselves homogenized by the label Black. The vibrancy, colour and friendliness of back home where the folks are Parading the city wearing Bright attractive bandanas contrasts with the previous stanza of the dour images of London. The dialogue is handed back to the white speaker who attempts to establish the origins of the little black girl but succeeds in once more re-establishing the homogeneic white gaze indicated in the speakers inability to distinguish between many distinct nations : And from whence are you Little brown girl? I guess Africa, or India, Ah no, from some island In the West Indies But isnt that India All the same? (The Moth, p13) More than anything the poem conveys that sense of isolation felt by the little brown girl in the city. She never answers the white speaker directly and is positioned in the middle of the poem, again centralizing the colonized. In asking the question Would you like to be white/Little brown girl? there is a sense of the colonizer attempting to manipulate and dominate the colonized, to Europeanise, ultimately leading to mimicry. Yet the questioner responds himself with I dont think you would / For you toss your head / As though you are proud / To be brown. 56 Marson, here, signals a move away from being a mimic man seeking to challenge that whole Eurocentric paternalistic world and centralise the black women, the most marginalized figure in society. The themes central to Little Brown Girls themes echo Rhyss own negative reactions to London seen in the opening page of Voyage in the Dark. Like Rhys, Marson succeeds in capturing that colour and warmth of the West Indies contrasting greatly with the misery of London, experienced by both and which reinforce that racial and national separateness. Those differences prove for both to be irreconcilable, making it impossible for both Rhys and Marson to integrate, leaving both women dislocated from the metropolis. Little Black Girl serves as a useful reminder that many immigrants were women. This encounter between the city and a woman (in Marsons case, a black woman) echoes Annas encounter in Voyage in the Dark albeit as a prostitute. Both walk the streets of the city and as women-as-walkers encounter the metropolis, negotiating its spaces. Denise deCaires Narian suggests that certainly Marson could be considered as a flaneuse.57 Neither Rhys nor Marson, however have the confident panache of the flaneuse and neither fulfil the requirements of flanerie originally set out by Baudelaire. The flaneur, he asserted, saw the crowd as his domain, His passion and his profession is to merge with the crowd.58 The flaneur and therefore the flaneuse is engaged in strolling and looking but most importantly merging with the crowd. For Marson this is impossible as she is a black woman in a white city. Moreover, Baudelaire expands upon the idea of the flaneur as having the ability to be away from home and yet to feel at home anywhere, to be at the centre of the world, and yet to be unseen of the world.59 Again this is problematic for both Marson and Rhys as their wanderings around the metropolis seek only to reinforce those feelings of Otherness, isolation and marginality. For Marson these feelings of alienation gained her the reputation of being a true loner who didnt exactly seek out company60 leading to a heightened level of bodily consciousness which comes from being dissected by white eyes.61 In her struggle with being marginalized as a black women always at the mercy of the white metropolitan gaze, Marson was always aware of that Europeanised sense of beauty being white. This idea of beauty was so entrenched, even within the black community that they themselves set beauty against the paleness of their own skin. The importance of popularly disseminated images is tackled in Cinema Eyes where a black mother in addressing her daughter attempts to challenge the idea that Europeans still provide the aesthetic reference point.62 The speaker urges her eighteen year old daughter to avoid the cinema fearing that it might reinforce the idea that white is beautiful causing the girl to lose sight of her own beauty: Come, I will let you go When black beauties Are chosen for the screen; That you may know Your own sweet beauty And not the white loveliness Of others for envy. (The Moth, p88) By growing up with a cinema mind the mother has allowed herself to be at the mercy of those tools used by the colonizer to marginalize and indoctrinate, promoting their own superiority. Once again the mimic man re-emerges when black women reject their own in seeking an ideal man. No kinky haired man for me, / No black face, no black children for me.63 This rather melodramatic narrative within the poem tells of the mothers fair husband shooting her first suitor whom she had initially rejected for being too dark, and then committing suicide. The shooting scene, a re enactment of a gun fight in a western, presents the cinema as a racist and degenerate institution. By the end of the poem, the speaker acknowledges her mistake in rejecting the first lover and finds a sense of self, previously denied by the saturation of cinematic images. In shaking off the colonizers indoctrination, which seeks to marginalize her, she addresses the question posed by Franz Fanon which is to what extent authentic love will remain unattainable before one has purged oneself of that feeling of inferiority?64 Black invisibility in the cinema results in white ideology being forced upon a black body and essentially commodifying it and it is this which Marson seeks to deconstruct. Another poem which tackles the reconstruction of female identity is Black is Fancy, where the speaker compares her reflection in the mirror with a picture Of a beautiful white lady.65 The mirror serves to reclaim the idea of black as being beautiful and a rediscovery of self: Since Aunt Lisa gave me This nice looking glass I begin to feel proud Of my own self (The Moth, p75) The speaker eventually removes the picture of the white woman suggesting that black worth and beauty can only really exist in the absence of white colonialism. The poem ends in a victory of sorts as she declares that John, her lover has rejected the pale skin in favour of His black ivory girl.66 Kinky Haired Blues represents Marsons quest for a more effective and authentic poetic voice in its use of African American speech.. The poem explores the rhythms and musical influences found in Harlem and gathering momentum about this time. Kinky Haired Blues like Cinema Eyes and Black is Fancy criticizes the oppressive beauty regime of white colonialism which seeks to disfigure and marginalize the black woman. The poem opens with the speaker attempting to find a beauty shop: Gwine find a beauty shop Cause I aint a belle Gwine find a beauty shop Cause I aint a lovely belle. The boys pass me by They say Is not so swell (The Moth, p91) The speaker seeks to Europeanise her black features in an attempt to make herself more attractive. Male indifference experienced in the metropolis forces the speaker to see herself as an aberration, thrusting her onto the margins of a society which is continually projecting the idea that white is right. The beauty shop contains all the trappings of the colonizers idea of beauty, ironed hair and bleached skin. Yet she is caught between being left to die on de shelf 67 if she doesnt change herself, or eradicating her ethnic features and therefore her inner self if she does. By using blues within the poetry she is able to communicate this misery felt within her, that male perceptions of beauty projected by the colonizers dictate that she must distort her own natural beauty in order to fit in and conform. The poem highlights the struggle Marson experiences in trying to preserve her selfhood against such oppressive cultural forces. Marson defiantly attempts to stand against this patriarchal order. She proudly announces that I like me black face / And me kinky hair. Inspite of this brave stand Marson eventually succumbs and admits that she is gwine press me hair / And bleach me skin. She, like Rhys can only resist internally to the colonialists ideals imposed on them. As writers voyaging into the metropolis both Rhys and Marson share in their writing a pervasive sense of isolation where, from the location of London, their particular voices and concerns are, at the time, not recognised. Both writers, from this isolated position on the periphery of the centre. explore issues of womanhood, race and identity,. Marsons experiences bring about an acute awareness of her difference and Otherness as a Black woman. Her work is a defiant voice against this marginalisation and isolation. She was, as Jarrett MaCauley claims the first Black feminist to speak out against racism and sexism in Britain.68 She was a pioneer in a growing literary culture which was to become the new postcolonial order. Rhys, by contrast, a white West Indian from Dominica was experiencing a declining white minority status against a growing black population, itself an isolating factor both at home and within the metropolis. Kenneth Ramchard suggests that the work of white West Indian writers is characterized by a sense of embattlement: Adapted from Fanon we might use the phrase terrified consciousness to suggest the White minoritys sensations of shock and disorientation as a smouldering Black population is released into an awareness of power.69 It is this terrified consciousness which contributes to the struggle experienced by Anna in Voyage in the Dark . Located simultaneously both inside and outside West Indian socio cultural history, her journey to the mother country seeks only to exacerbate these feelings of in-betweenness and to suffer feelings of dislocation and alienation. Both writers, therefore, in their voyage into the metropolis endure different kinds of anxieties in their sense of unbelonging to either or both cultural worlds. Both use their writing to speak for the marginal, the hegemonic, the dispossessed, the colonized silenced female voice situated as they were within the cold, oppressive, hierarchical colonial metropolis attempting to impose an oppressive identity upon the exiled women. 1 George Lamming The Pleasures of Exile (London: Alison, 1960) p15 2 Palmer Adisa De Language Reflect Dem Ethos in The Winds of Change: The Transforming Voices of Caribbean Women Writers and Scholars ed. By Adele S. Newson and Linda Strong Leek. (New York: Peter Lang 1998 p23) 3 The Winds of Change: The Transforming Voices of Caribbean Women Writers and Scholars ed By Adele S. Newson and Linda Strong-Leek. (New York: Peter Lang 1998 p6) 4 V.S. Naipaul New York Review of Books 1992. Quoted in Helen Carr Jean Rhys (Plymouth: Northcote House Publishers Ltd., 1996) p15 5 Helen Carr Jean Rhys (Plymouth: Northcote House Publishers Ltd., 1996) p. xiv 6 Delia Jarrett-MaCauley The Life of Una Marson (Manchester: Manchester University Press, 1998) p51 7 Edward W. Said Representations of the Intellectual (London: Vintage 1994) p49 8 Molly Hite The Other Side of the Story: Structures and Strategies of Contemporary Feminist Narrative Quoted in Joy Castro Jean Rhys in The Review of Contemporary Fiction Vol. 20, 2000. www.highbeam.com/library/doc.3.asp p6.Accessed 1 December 2005. 9 Elaine Savory Jean Rhys p92 10 Elaine Savory Jean Rhys p93 11 Gayatri Spivak Three Womens Text and a Critique of Imperialism in Henry Louis Jr. Gates Race, Writing and Difference (Chicago: University of Chicago Press, 1987) p269 12Jean Rhys Voyage in the Dark (London: Penguin Books 1969) 13 Elaine Savoury Jean Rhys (Cambridge: Cambridge University Press 1998) p 95 14 Homi Bhabha Remembering Fanon, forward to Franz Fanon s Black Skin, White Masks (London: Pluto, 1986) p ix 15 Homi Bhabha The Other Question Location of Culture (London: Routledge 1994)p69 16 Ibid p69 17 Veronica Marie Gregg Jean Rhyss Historical Imagination: Reading and Writing the Creole (North Carolina: The University of North Carolina Press, 1995) p115 18 Sue Thomas The Worlding of Jean Rhys ( Westport: Greenwood Press 1999) p106 19 Jean Rhys Voyage in the Dark p53 20 Ibid 21 Paul B. Rich Race and Empire in British Politics (Cambridge: Cambridge University Press, 1986) p19 22 Voyage in the Dark p56 23 Ibid p320 24 Homi Bhabha DissemInation: Time, Narrative and the margins of the Modern Nation The Location of Culture p319 25 Voyage in the Dark p7 26 Ibid p15 27 Ibid p16 28 Ibid p26 29 Ibid p45 30 Ibid p47 31 Ibid p7 32 Ibid p46 33 Homi Bhabha The Location of Culture p319 34 Voyage in the Dark p45 35 Homi Bhabha Location of Culture p85 36 Ibid p27 37 Ibid p62 38 Ibid p62 39 Teresa OConnor The Meaning of the West Indian Experience for Jean Rhys (PhD dissertation, New York University, 1985)cited in Caribbean Woman Writers; Essays from the first International Conference. p19 40 Taken from Rhyss non fictional analysis of Gender Politics. Veronica Gregg, Jean Rhyss Historical Imagination p47 41 Helen Carr Jean Rhys, (Plymouth: Northcote House Publishers Ltd, 1996) p 77 42 Lloyd W. Brown, West Indian Poetry (London: Heineman, 1978) p 38 43 Denise deCaires Contemporary Caribbean Womens Poetry: Making style (London: Routledge, 2002) p 2 44 Ibid p4 45 Una Marson The Moth and the Star, (Kingston, Jamaica: Published by the Author, 1937) p24 46 Homi Bhabha The Location of Culture, (London: Routledge, 1994) pp85-92 47 Delia Jarrett-MaCauley The Life of Una Marson pp 49, 50 48 The Routledge Reader in Caribbean Literature ed. Alison Donnell and Sarah Lawson Welsh (London: Routledge, 1996) p140-141 49 Ibid 50 Homi Bhabha Location of Culture p 320 51 Jarrett-MaCauley The Life of Una Marson p51 52 Ibid p51 53 Ibid p54 54 Una Marson Little Brown Girl, The Moth and the Star. (Jamaica: The Gleaner. 1937) p11 55 Ibid 56 Ibid p13 57 deCaires Narain puts forward an interesting link between Marson and Sam Selvons The Lonely Londoners highlighting external identity in her book Contemporary Caribbean Womens Poetry p 21 58 Baudelaire The Painter and the Modern Life cited in Keith Tester The Flaneur (New York: Routledge, 1994), p 2 59 Ibid p3 60 Jarrett-MaCauley, p53 61 Ibid p50 62 Laurence A. Brainer An Introduction to West Indian Poetry (Cambridge: CUP, 1998), p154 63 Una Marson Cinema Eyes The Moth and the Star. (Jamaica: The Gleaner.1937) p87 64 Franz Fanon Black Skins, White Masks (London: Pluto, 1986), p4 65 Una Marson Black is Fancy The Moth and the Star p75 66 Ibid p76 67 Una Marson Kinky Hair Blues The Moth and the Star p91 68 Jarret MaCauley pvii 69 Kenneth Ramchard The West Indian Novel and its Background (London: Faber, 1870), p225

In-place Pile Foundation for a Tower-building Project

In-place Pile Foundation for a Tower-building Project CHAPTER 1 1 Introduction Pile foundations are used to carry a load and transfer the load of a given structure to the ground bearing, which is found below the ground at a considerable depth. The foundation consists of several piles and pile-caps. Pile foundations are generally long and lean, that transfers the structure load to the underlying soil (at a greater depth) or any rock having a great load-bearing ability. â€Å"The main types of materials used for piles are Wood, steel and concrete. Piles made from these materials are driven, drilled or jacked into the ground and connected to pile caps. Depending upon type of soil, pile material and load transmitting characteristic piles are classified accordingly.† (Pile Foundation Design: A Student Guide by Ascalew Abebe Dr Ian GN Smith). The objective of this project is to identify the design use of a cast-in-place pile foundation, for the tower-building project. The tower building project is called the Gemini Towers. The purpose of this construction (building) is to facilitate office spaces. This also resides on a rocky area. The building has been designed as per state-of-the-art designing concepts which are basically to attract foreign investors to invest in Oman. The Gemini Building has 1 basement, 1 ground and 19 floors. Cast-in-place concrete piles are shafts of concrete cast in thin shell pipes, top driven in the soil, and usually closed end. Such piles can provide up to a 200-kip capacity. The chief advantage over precast piles is the ease of changing lengths by cutting or splicing the shell. The material cost of cast-in-place piles is relatively low. They are not feasible when driving through hard soils or rock. 1.1 Aim The aim of this project is to design and propose cast in-place pile foundation for a tower-building project and study the efficiency for the same. To achieve this aim the following objective has to be achieved. 1.2 Objectives The objectives of this project are as following: To study the field soil condition, suitability of pile and investigate the soil. To study the advantages and efficiency of using cast-in-place pile for the building. To study the guidelines for the design of cast in-place structure according to BS 8004, 8110, 8002, etc. To design the pile foundation as per the guidelines and the soil conditions (analyse the load, calculate the moment and determine the length and diameter and reinforcement). To use computer structural designing program for performing design (CAD and STAD). 1.3 Methods The methods followed in preparing this project is by collecting the project plan and the soil investigation report. Then after that, research has been done on in-situ pile foundation type, to identify its characteristics. The next step is to study the pile designing criteria by referring to BS 8004, 8110 8002 codes to understand the guidelines, which shall be followed to accomplish the pile design. For this, the structural loads have to be analysed and identified using ultimate state design method. Then the design is processed depending on the data gathered on soil conditions, design loads and BS code guidelines. Thus, a proposal for the suitable pile will be prepared by identifying the reasons over the proposal. The commonest function of piles is to transfer a load that cannot be adequately supported at shallow depths to a depth where adequate support becomes available, also against uplift forces which cause cracks and other damages on superstructure. Chapter 2 Literature Review 2 Pile Foundation â€Å"Pile foundations are used extensively in bridges, high-rise buildings, towers and special structures. In practice, piles are generally used in groups to transmit a column load to a deeper and stronger soil stratum. Pile may respond to loading individually or as a group. In the latter case, the group and the surrounding soil will formulate a block to resist the column load. This may lead to a group capacity that is different from the total capacity of individual piles making up the group.† (Adel M. Hanna et al, 2004). â€Å"Pile foundations are the part of a structure used to carry and transfer the load of the structure to the bearing ground located at some depth below ground surface. The main components of the foundation are the pile cap and the piles. Piles are long and slender members which transfer the load to deeper soil or rock of high bearing capacity avoiding shallow soil of low bearing capacity. The main types of materials used for piles are Wood, steel and concrete. Piles made from these materials are driven, drilled or jacked into the ground and connected to pile caps. Depending upon type of soil, pile material and load transmitting characteristic piles are classified accordingly.† (Ascalew Abebe et al, 2005) 2.1 Functions of Piles The purposes of pile foundations are: to transmit a foundation load to a solid ground. to resist vertical, lateral and uplift load. â€Å"A structure can be founded on piles if the soil immediately beneath its base does not have adequate bearing capacity. If the results of site investigation show that the shallow soil is unstable and weak or if the magnitude of the estimated settlement is not acceptable a pile foundation may become considered. Further, a cost estimate may indicate that a pile foundation may be cheaper than any other compared ground improvement costs. Piles can also be used in normal ground conditions to resist horizontal loads. Piles are a convenient method of foundation for works over water, such as jetties or bridge piers.† (Pile Foundation Design: A Student Guide, by Ascalew Abebe Dr Ian GN Smith, 2003). 2.2 Classification of Piles 2.2.1 Classification of pile with respect to load transmission End-bearing. Friction-piles. Mixture of cohesion piles friction piles. 2.2.1.1 End bearing piles This type of piles is designed to transfer the structural load to a stable soil layer which is found at a greater depth below the ground. The load bearing capacity of this stratum is found by the soil penetration resistance from the pile-toe (as in figure 1.2.1.1). The pile normally has attributes of a normal column, and should be designed as per the guidelines. The pile will not collapse in a weak soil, and this should be studied only if a part of the given pile is unsupported. (Eg: If it is erected on water / air). Load transmission occurs through cohesion / friction, into the soil. At times, the soil around the pile may stick to the pile surface and starts â€Å"negative skin friction†. This phenomenon may have an inverse effect on the pile capacity. This is mainly caused due to the soil consolidation and ground water drainage. The pile depth is determined after reviewing the results from the soil tests and site investigation reports. 2.2.1.2 Friction piles (cohesion) The bearing capacity is calculated from the soil friction in contact with the pile shaft. (as in Figure 1.2.1.2). 2.2.1.3 Mixture of cohesion piles friction piles. This is an extended end-bearing pile, when the soil underneath it is not hard, which bears the load. The pile is driven deep into the soil to create efficient frictional resistance. A modified version of the end-bearing pile is to have enlarged bearing base on the piles. This can be achieved by immediately pushing a large portion of concrete into the soft soil layer right above the firm soil layer, to have an enlarged base. Similar result is made with bored-piles by creating a bell / cone at the bottom by the means of reaming tools. Bored piles are used as tension piles as they are provided with a bell which has a high tensile-strength. (as in figure 1.2.1.3) 2.3 Cast-in-Place Pile Foundation Cast-in-place piles are installed by driving to the desired penetration a heavy-section steel tube with its end temporarily closed. A reinforcing cage is next placed in a tube which is filled with concrete. The tube is withdrawn while placing the concrete or after it has been placed. In other types of pile, thin steel shells or precast concrete shells are driven by means of an internal mandrel, and concrete, with or without reinforcement, is placed in the permanent shells after withdrawing the mandrel. 2.3.1 Advantages Length of the pile can be freely altered to cater varying ground conditions. Soil removed during the boring process can be verified and further tests can be made on it. Large diameter installations are possible. End enlargements up to two or three diameters are possible in clays. Pile materials are independent during driving / handling. Can be installed to greater depths in the soil. Vibration-free and noise-free while installation. Can be installed in conditions of very low headroom. Ground shocks are completely nil. 2.3.2 Disadvantages Susceptible to necking or wasting in pressing ground. Concrete is not pumped under suitable conditions and cannot be inspected. The cement on the pile shaft will be washed up, if there is a sudden surge of waster from any pressure caused underground. Special techniques need to be used to ensure enlarged pile ends. Cannot be easily prolonged above ground-level especially in river and marine structures. Sandy soils may loosen due to boring methods and base grouting may be required for gravely soils to improve base resistance. Sinking piles may result in ground-loss, leading to settlement of nearby structures. CHAPTER 3 3 Load Distribution To a great extent the design and calculation (load analysis) of pile foundations is carried out using computer software. The following calculations are also performed, assuming the following conditions are met: The pile is rigid. The pile is pinned at the top and at the bottom. Each pile receives the load only vertically (i.e. axially applied). The force P acting on the pile is proportional to the displacement U due to compression. Therefore, P = k U Since P = E A E A = k U k = (E A ) / U Where: P = vertical load component k = material constant U = displacement E = elastic module of pile material A = cross-sectional area of pile (Figure 3 load on single pile) The length L should not necessarily be equal to the actual length of the pile. In a group of piles. If all piles are of the same material, have same cross-sectional area and equal length L, then the value of k is the same for all piles in the group 3.1 Pile foundations: vertical piles only 3.1.1 Neutral axis load The pile cap is causing the vertical compression U, whose magnitude is equal for all members of the group. If Q (the vertical force acting on the pile group) is applied at the neutral axis of the pile group, then the force on a single pile will be as follows: Pv = Q / n Where Pv = vertical component of the load on any pile from the resultant load Q n = number of vertical piles in the group (see figure 3.1.2) Q = total vertical load on pile group 3.1.2 Eccentric Load If the same group of piles are subjected to an eccentric load Q which is causing rotation around axis z (see fig 3.1b); then for the pile i at distance rxi from axis z: Ui = rxi . tanÃŽ ¸ ∠´ Ui = rxi ÃŽ ¸ => Pi = k . r xi . ÃŽ ¸ ÃŽ ¸ is a small angle ∠´ tanÃŽ ¸ ≈ ÃŽ ¸ (see figure 3.1.2). Pi = force (load on a single pile i). Ui = displacement caused by the eccentric force (load) Q. rxi = distance between pile and neutral axis of pile group. rxi positive measured the same direction as e and negative when in the opposite direction. e = distance between point of intersection of resultant of vertical and horizontal loading with underside of pile. (Figure 3.1.2 – Example of a pile foundation – vertical piles) The sum of all the forces acting on the piles should be zero ⇔ ⇔ Mxi = Pi . rxi = k . rxi . ÃŽ ¸ rxi = k . ÃŽ ¸ r2xi => => Mxi = From previous equation, Mz = ÃŽ £Mz Applying the same principle, in the x direction we get equivalent equation. If we assume that the moment MX and MZ generated by the force Q are acting on a group of pile, then the sum of forces acting on a single pile will be as follows: If we dividing each term by the cross-sectional area of the pile, A, we can establish the working stream ÏÆ': CHAPTER 4 4 Load on Pile 4.1 Introduction â€Å"Piles can be arranged in a number of ways so that they can support load imposed on them. Vertical piles can be designed to carry vertical loads as well as lateral loads. If required, vertical piles can be combined with raking piles to support horizontal and vertical forces.† (Pile Foundation Design: A Student Guide by Ascalew Abebe Dr Ian GN Smith) â€Å"Often, if a pile group is subjected to vertical force, then the calculation of load distribution on single pile that is member of the group is assumed to be the total load divided by the number of piles in the group.† (Pile Foundation Design: A Student Guide by Ascalew Abebe Dr Ian GN Smith) However, if a given pile group is subjected to eccentric vertical load or combination of lateral vertical load that can start moment force. Proper attention should be given during load distribution calculation. 4.2 Pile Arrangement â€Å"Normally, pile foundations consist of pile cap and a group of piles. The pile cap distributes the applied load to the individual piles which, in turn, transfer the load to the bearing ground. The individual piles are spaced and connected to the pile cap. Or tie beams and trimmed in order to connect the pile to the structure at cut-off level, and depending on the type of structure and eccentricity of the load, they can be arranged in different patterns.† (Pile Foundation Design: A Student Guide by Ascalew Abebe Dr Ian GN Smith) (Figure 2.2 Pile Foundation Design: A Student Guide by Ascalew Abebe Dr Ian GN Smith)) In this section, considering pile/soil interaction, calculations on the bearing capacity of single piles subjected to compressive axial load has been described. During pile design, the following factors should be taken into consideration: Pile material compression and tension capacity. Deformation area of pile, bending moment capacity. Condition of the pile at the top and the end of the pile. Eccentricity of the load applied on the pile. Soil characteristics. Ground water level. 4.3 The behaviour of piles under load Piles are designed in line with the calculations based on load bearing capacity. It is based on the application of final axial-load, as per the given soil conditions at the site, within hours after the installation. This ultimate load capacity can be determined by either: The use of empirical formula to predict capacity from soil properties determined by testing. or Load test on piles at the site. When increasing compressive load is applied on the pile, the pile soil system reacts in a linear elastic way to point A on the above figure (load settlement). The pile head rebounds to the original level if the load realises above this point. â€Å"When the load is increase beyond point A there is yielding at, or close to, the pile-soil interface and slippage occurs until point B is reached, when the maximum skin friction on the pile shaft will have been mobilised. If the load is realised at this stage the pile head will rebound to point C, the amount of permanent settlement being the distance OC. When the stage of full mobilisation of the base resistance is reached (point D), the pile plunges downwards without any farther increase of load, or small increases in load producing large settlements.† (Pile Foundation Design: A Student Guide). 4.4 Geotechnical design methods In order to separate their behavioural responses to applied pile load, soils are classified as either granular / noncohesive or clays/cohesive. The generic formulae used to predict soil resistance to pile load include empirical modifying factors which can be adjusted according to previous engineering experience of the influence on the accuracy of predictions of changes in soil type and other factors such as the time delay before load testing. From figure 4.1b, the load settlement response is composed of two separate components, the linear elastic shaft friction Rs and non-linear base resistance Rb. The concept of the separate evaluation of shaft friction and base resistance forms the bases of static or soil mechanics calculation of pile carrying capacity. The basic equations to be used for this are written as: Q = Qb + Qs Wp Rc = Rb + Rs Wp Rt = Rs + Wp Where: Q = Rc = the ultimate compression resistance of the pile. Qb = Rb = base resistance. Qs = Rs = shaft resistance. Wp = weight of the pile. Rt = tensile resistance of pile. In terms of soil mechanics theory, the ultimate skin friction on the pile shaft is related to the horizontal effective stress acting on the shaft and the effective remoulded angle of friction between the pile and the clay and the ultimate shaft resistance Rs can be evaluated by integration of the pile-soil shear strength Ï€a over the surface area of the shaft. Ï„a = Ca + ÏÆ' n tanφ a Where: ÏÆ'n = Ks ÏÆ'v ∠´ Ï„a = Ca + KS ÏÆ'v tanφa where: p = pile perimeter L = pile length φ = angle of friction between pile and soil Ks = coefficient of lateral pressure The ultimate bearing capacity, Rb, of the base is evaluated from the bearing capacity theory: Ab = area of pile base. C = undrained strength of soil at base of pile. NC = bearing capacity factor. CHAPTER 5 5 Calculating the resistance of piles to compressive loads 5.1 Cast in Place Piles – Shaft resistance These piles are installed by drilling through soft overburden onto a strong rock the piles can be regarded as end-bearing elements and their working load is determined by the safe working stress on the pile shaft at the point of minimum cross-section, or by code of practice requirements. Bored piles drilled down for some depth into weak or weathered rocks and terminated within these rocks act partly as friction and partly as end-bearing piles. The author Duncan C. Wyllie, gives a detailed account of the factors governing the development of shaft friction over the depth of the rock socket. The factors which govern the bearing capacity and settlement of the pile are summarized as the following: The length to diameter ratio of the socket. The strength and elastic modulus of the rock around and beneath the socket. The condition of the side walls, that is, roughness and the presence of drill cuttings or bentonite slurry. Condition of the base of the drilled hole with respect to removal of drill cuttings and other loose debris. Layering of the rock with seams of differing strength and moduli. Settlement of the pile in relation to the elastic limit of the side-wall strength. Creep of the material at the rock/concrete interface resulting in increasing settlement with time. The effect of the length/diameter ratio of the socket is shown in Figure 5.1a, for the condition of the rock having a higher elastic modulus than the concrete. It will be seen that if it is desired to utilize base resistance as well as socket friction the socket length should be less than four pile diameters. The high interface stress over the upper part of the socket will be noted. The condition of the side walls is an important factor. In a weak rock such as chalk, clayey shale, or clayey weathered marl, the action of the drilling tools is to cause softening and slurrying of the walls of the borehole and, in the most adverse case, the shaft friction corresponds to that typical of a smooth-bore hole in soft clay. In stronger and fragmented rocks the slurrying does not take place to the same extent, and there is a tendency towards the enlargement of the drill hole, resulting in better keying of the concrete to the rock. If the pile borehole is drilled through soft clay this soil may be carried down by the drilling tools to fill the cavities and smear the sides of the rock socket. This behaviour can be avoided to some extent by inserting a casing and sealing it into the rock-head before continuing the drilling to form the rock socket, but the interior of the casing is likely to be heavily smeared with clay which will be carried down by the drilling tools into the rock socket. As mentioned in Duncan C. Wyllie, suggests that if bentonite is used as a drilling fluid the rock socket shaft friction should be reduced to 25% of that of a clean socket unless tests can be made to verify the actual friction which is developed. It is evident that the keying of the shaft concrete to the rock and hence the strength of the concrete to rock bond is dependent on the strength of the rock. Correlations between the unconfined compression strength of the rock and rock socket bond stress have been established by Horvarth(4.50), Rosenberg and Journeaux(4.51), and Williams and Pells(4.52). The ultimate bond stress, fs, is related to the average unconfined compression strength, quc, by the equation: Where ÃŽ ± = reduction factor relating to, quc as shown in Figure 5.1b ÃŽ ² = correction factor associated with cut-off spacing in the mass of rock as shown in Figure 5.1c. The curve of Williams and Pells in Figure 5.1b is higher than the other two, but the ÃŽ ² factor is unity in all cases for the Horvarth and the Rosenberg and Journeaux curves. It should also be noted that the ÃŽ ± factors for all three curves do not allow for smearing of the rock socket caused by dragdown of clay overburden or degradation of the rock. The ÃŽ ² factor is related to the mass factor, j, which is the ratio of the elastic modulus of the rock mass to that of the intact rock as shown in Figure 5.1d. If the mass factor is not known from loading tests or seismic velocity measurements, it can be obtained approximately from the relationships with the rock quality designation (RQD) or the discontinuity spacing quoted by Hobbs (4.53) as follows: 5.2 End Bearing Capacity Sometimes piles are driven to an underlying layer of rock. In such cases, the engineer must evaluate the bearing capacity of the rock. The ultimate unit point resistance in rock (Goodman, 1980) is approximately. N = tan2 (45 + / 2) qu = unconfined compression strength of rock = drained angle of friction Table 5.2a Table 5.2b The unconfined compression strength of rock can be determined by laboratory tests on rock specimens collected during field investigation. However, extreme caution should be used in obtaining the proper value of qu, because laboratory specimens usually are small in diameter. As the diameter of the specimen increases, the unconfined compression strength decreases a phenomenon referred to as the scale effect. For specimens larger than about 1 m (3f) in diameter, the value of qu remains approximately constant. There appears to be fourfold to fivefold reduction of the magnitude of qu in the process. The scale effect in rock is caused primarily by randomly distributed large and small fractures and also by progressive ruptures along the slip lines. Hence, we always recommend that: The above table (Table 5.2a) lists some representative values of (laboratory) unconfined compression strengths of rock. Representative values of the rock friction angle are given in the above table (Table 5.2b). A factor of safety of at least 3 should be used to determine the allowable point bearing capacity of piles. Thus: CHAPTER 6 6 Pile Load Test (Vesic’s Method) A number of settlement analysis methods for single piles are available. These methods may be broadly classified into three categories: Elastic continuum methods Load–transfer methods Numerical methods Examples of such methods are the elastic methods proposed by Vesic (1977) and Poulos and Davis (1980), the simplified elastic methods proposed by Randolph and Wroth (1978) and Fleming et al. (1992), the nonlinear load–transfer methods proposed by Coyle and Reese (1966) and McVay et al. (1989), and the numerical methods based on advanced constitutive models of soil behaviour proposed by Jardine et al. (1986). In this paper, three representative methods are adopted for the calibration exercise: the elastic method proposed by Vesic (1977), the simplified analysis method proposed by Fleming et al. (1992), and a nonlinear load–transfer method (McVay et al. 1989) implemented in program FB-Pier (BSI 2003). In Vesic’s method, the settlement of a pile under vertical loading, S, includes three components: S = S1 + S2 + S3 Where: S1 is the elastic pile compression. S2 is the pile settlement caused by the load at the pile toe. S3 is the pile settlement caused by the load transmitted along the pile shaft. If the pile material is assumed to be elastic, the elastic pile compression can be calculated by: S1 = (Qb + ÃŽ ¾Qs)L / (ApEp) Where Qb and Qs are the loads carried by the pile toe and pile shaft, respectively; Ap is the pile cross-section area; L is the pile length; Ep is the modulus of elasticity of the pile material; and ÃŽ ¾ is a coefficient depending on the nature of unit friction resistance distribution along the pile shaft. In this work, the distribution is assumed to be uniform and hence ÃŽ ¾ = 0.5. Settlement S2 may be expressed in a form similar to that for a shallow foundation. S2 = (qbD / Esb) (1-v2)Ib Where: D is the pile width or diameter qb is the load per unit area at the pile toe qb = Qb /Ab Ab is the pile base area Esb is the modulus of elasticity of the soil at the pile toe Ñ µ is Poisson’s ratio Ib is an influence factor, generally Ib = 0.85 S3 = (Qs / pL) (D / Ess) (1 – Ñ µ2) Is Where: p is the pile perimeter. Ess is the modulus of elasticity of the soil along the pile shaft. Is is an influence factor. The influence factor Is can be calculated by an empirical relation (Vesic 1977). Is = 2 + 0.35 √(L/D) With Vesic’s method, both Qb and Qs are required. In this report, Qb and Qs are obtained using two methods. In the first method (Vesic’s method I), these two loads are determined from a nonlinear load–transfer method, which will be introduced later. In the second method (Vesic’s method II), these two loads are determined using empirical ratios of Qb to the total load applied on pile Q based on field test data. Shek (2005) reported load–transfer in 14 test piles, including 11 piles founded in soil and 3 piles founded on rock. The mean ratios of Qb /Q for the piles founded in soil and the piles founded on rock are summarized in Table 3 and applied in this calibration exercise. The mean values of Qb /Q at twice the design load and the failure load are very similar. Hence, the average of the mean values is adopted for calibration at both twice the design load and the failure load. In the Fleming et al. method, the settlement of a pile is given by the following approximate closed-form solution (Fleming et al. 1992): Where: n = rb / r0, r0 and rb are the radii of the pile shaft and pile toe, respectively (for H-piles, Ï€ro2 = Ï€rb2 = Dh, h is the depth of the pile cross-section) ÃŽ ¾G = GL/Gb, GL is the shear modulus of the soil at depth L, and Gb is the shear modulus of the soil beneath the pile toe. Ï  = Gave/GL, Gave is the average shear modulus of the soil along the pile shaft p is the pile stiffness ratio p = Ep / GL; ÃŽ ¶ = ln{[0.25 +(2.5Ï (1 – v) –0.25) ÃŽ ¾G] L/r0}; É ¥L = (2/)1/2(L/r0). If the slenderness ratio L/r0 is less than 0.5p1/2 (L/r0) the pile may be treated as effectively rigid and eq. [7] then reduces to: If the slenderness ratio L/r0 is larger than 3Ï€p1/2, the pile may be treated as infinitely long, and eq. [7] then reduces to: In this case, GL’ is the soil shear modulus at the bottom of the active pile length Lac, where Lac = 3r0p1/2. In the nonlinear load–transfer method implemented in FB-Pier, the axial –Z curve for modelling the pile–soil interaction along the pile is given as (McVay et al. 1989) In-place Pile Foundation for a Tower-building Project In-place Pile Foundation for a Tower-building Project CHAPTER 1 1 Introduction Pile foundations are used to carry a load and transfer the load of a given structure to the ground bearing, which is found below the ground at a considerable depth. The foundation consists of several piles and pile-caps. Pile foundations are generally long and lean, that transfers the structure load to the underlying soil (at a greater depth) or any rock having a great load-bearing ability. â€Å"The main types of materials used for piles are Wood, steel and concrete. Piles made from these materials are driven, drilled or jacked into the ground and connected to pile caps. Depending upon type of soil, pile material and load transmitting characteristic piles are classified accordingly.† (Pile Foundation Design: A Student Guide by Ascalew Abebe Dr Ian GN Smith). The objective of this project is to identify the design use of a cast-in-place pile foundation, for the tower-building project. The tower building project is called the Gemini Towers. The purpose of this construction (building) is to facilitate office spaces. This also resides on a rocky area. The building has been designed as per state-of-the-art designing concepts which are basically to attract foreign investors to invest in Oman. The Gemini Building has 1 basement, 1 ground and 19 floors. Cast-in-place concrete piles are shafts of concrete cast in thin shell pipes, top driven in the soil, and usually closed end. Such piles can provide up to a 200-kip capacity. The chief advantage over precast piles is the ease of changing lengths by cutting or splicing the shell. The material cost of cast-in-place piles is relatively low. They are not feasible when driving through hard soils or rock. 1.1 Aim The aim of this project is to design and propose cast in-place pile foundation for a tower-building project and study the efficiency for the same. To achieve this aim the following objective has to be achieved. 1.2 Objectives The objectives of this project are as following: To study the field soil condition, suitability of pile and investigate the soil. To study the advantages and efficiency of using cast-in-place pile for the building. To study the guidelines for the design of cast in-place structure according to BS 8004, 8110, 8002, etc. To design the pile foundation as per the guidelines and the soil conditions (analyse the load, calculate the moment and determine the length and diameter and reinforcement). To use computer structural designing program for performing design (CAD and STAD). 1.3 Methods The methods followed in preparing this project is by collecting the project plan and the soil investigation report. Then after that, research has been done on in-situ pile foundation type, to identify its characteristics. The next step is to study the pile designing criteria by referring to BS 8004, 8110 8002 codes to understand the guidelines, which shall be followed to accomplish the pile design. For this, the structural loads have to be analysed and identified using ultimate state design method. Then the design is processed depending on the data gathered on soil conditions, design loads and BS code guidelines. Thus, a proposal for the suitable pile will be prepared by identifying the reasons over the proposal. The commonest function of piles is to transfer a load that cannot be adequately supported at shallow depths to a depth where adequate support becomes available, also against uplift forces which cause cracks and other damages on superstructure. Chapter 2 Literature Review 2 Pile Foundation â€Å"Pile foundations are used extensively in bridges, high-rise buildings, towers and special structures. In practice, piles are generally used in groups to transmit a column load to a deeper and stronger soil stratum. Pile may respond to loading individually or as a group. In the latter case, the group and the surrounding soil will formulate a block to resist the column load. This may lead to a group capacity that is different from the total capacity of individual piles making up the group.† (Adel M. Hanna et al, 2004). â€Å"Pile foundations are the part of a structure used to carry and transfer the load of the structure to the bearing ground located at some depth below ground surface. The main components of the foundation are the pile cap and the piles. Piles are long and slender members which transfer the load to deeper soil or rock of high bearing capacity avoiding shallow soil of low bearing capacity. The main types of materials used for piles are Wood, steel and concrete. Piles made from these materials are driven, drilled or jacked into the ground and connected to pile caps. Depending upon type of soil, pile material and load transmitting characteristic piles are classified accordingly.† (Ascalew Abebe et al, 2005) 2.1 Functions of Piles The purposes of pile foundations are: to transmit a foundation load to a solid ground. to resist vertical, lateral and uplift load. â€Å"A structure can be founded on piles if the soil immediately beneath its base does not have adequate bearing capacity. If the results of site investigation show that the shallow soil is unstable and weak or if the magnitude of the estimated settlement is not acceptable a pile foundation may become considered. Further, a cost estimate may indicate that a pile foundation may be cheaper than any other compared ground improvement costs. Piles can also be used in normal ground conditions to resist horizontal loads. Piles are a convenient method of foundation for works over water, such as jetties or bridge piers.† (Pile Foundation Design: A Student Guide, by Ascalew Abebe Dr Ian GN Smith, 2003). 2.2 Classification of Piles 2.2.1 Classification of pile with respect to load transmission End-bearing. Friction-piles. Mixture of cohesion piles friction piles. 2.2.1.1 End bearing piles This type of piles is designed to transfer the structural load to a stable soil layer which is found at a greater depth below the ground. The load bearing capacity of this stratum is found by the soil penetration resistance from the pile-toe (as in figure 1.2.1.1). The pile normally has attributes of a normal column, and should be designed as per the guidelines. The pile will not collapse in a weak soil, and this should be studied only if a part of the given pile is unsupported. (Eg: If it is erected on water / air). Load transmission occurs through cohesion / friction, into the soil. At times, the soil around the pile may stick to the pile surface and starts â€Å"negative skin friction†. This phenomenon may have an inverse effect on the pile capacity. This is mainly caused due to the soil consolidation and ground water drainage. The pile depth is determined after reviewing the results from the soil tests and site investigation reports. 2.2.1.2 Friction piles (cohesion) The bearing capacity is calculated from the soil friction in contact with the pile shaft. (as in Figure 1.2.1.2). 2.2.1.3 Mixture of cohesion piles friction piles. This is an extended end-bearing pile, when the soil underneath it is not hard, which bears the load. The pile is driven deep into the soil to create efficient frictional resistance. A modified version of the end-bearing pile is to have enlarged bearing base on the piles. This can be achieved by immediately pushing a large portion of concrete into the soft soil layer right above the firm soil layer, to have an enlarged base. Similar result is made with bored-piles by creating a bell / cone at the bottom by the means of reaming tools. Bored piles are used as tension piles as they are provided with a bell which has a high tensile-strength. (as in figure 1.2.1.3) 2.3 Cast-in-Place Pile Foundation Cast-in-place piles are installed by driving to the desired penetration a heavy-section steel tube with its end temporarily closed. A reinforcing cage is next placed in a tube which is filled with concrete. The tube is withdrawn while placing the concrete or after it has been placed. In other types of pile, thin steel shells or precast concrete shells are driven by means of an internal mandrel, and concrete, with or without reinforcement, is placed in the permanent shells after withdrawing the mandrel. 2.3.1 Advantages Length of the pile can be freely altered to cater varying ground conditions. Soil removed during the boring process can be verified and further tests can be made on it. Large diameter installations are possible. End enlargements up to two or three diameters are possible in clays. Pile materials are independent during driving / handling. Can be installed to greater depths in the soil. Vibration-free and noise-free while installation. Can be installed in conditions of very low headroom. Ground shocks are completely nil. 2.3.2 Disadvantages Susceptible to necking or wasting in pressing ground. Concrete is not pumped under suitable conditions and cannot be inspected. The cement on the pile shaft will be washed up, if there is a sudden surge of waster from any pressure caused underground. Special techniques need to be used to ensure enlarged pile ends. Cannot be easily prolonged above ground-level especially in river and marine structures. Sandy soils may loosen due to boring methods and base grouting may be required for gravely soils to improve base resistance. Sinking piles may result in ground-loss, leading to settlement of nearby structures. CHAPTER 3 3 Load Distribution To a great extent the design and calculation (load analysis) of pile foundations is carried out using computer software. The following calculations are also performed, assuming the following conditions are met: The pile is rigid. The pile is pinned at the top and at the bottom. Each pile receives the load only vertically (i.e. axially applied). The force P acting on the pile is proportional to the displacement U due to compression. Therefore, P = k U Since P = E A E A = k U k = (E A ) / U Where: P = vertical load component k = material constant U = displacement E = elastic module of pile material A = cross-sectional area of pile (Figure 3 load on single pile) The length L should not necessarily be equal to the actual length of the pile. In a group of piles. If all piles are of the same material, have same cross-sectional area and equal length L, then the value of k is the same for all piles in the group 3.1 Pile foundations: vertical piles only 3.1.1 Neutral axis load The pile cap is causing the vertical compression U, whose magnitude is equal for all members of the group. If Q (the vertical force acting on the pile group) is applied at the neutral axis of the pile group, then the force on a single pile will be as follows: Pv = Q / n Where Pv = vertical component of the load on any pile from the resultant load Q n = number of vertical piles in the group (see figure 3.1.2) Q = total vertical load on pile group 3.1.2 Eccentric Load If the same group of piles are subjected to an eccentric load Q which is causing rotation around axis z (see fig 3.1b); then for the pile i at distance rxi from axis z: Ui = rxi . tanÃŽ ¸ ∠´ Ui = rxi ÃŽ ¸ => Pi = k . r xi . ÃŽ ¸ ÃŽ ¸ is a small angle ∠´ tanÃŽ ¸ ≈ ÃŽ ¸ (see figure 3.1.2). Pi = force (load on a single pile i). Ui = displacement caused by the eccentric force (load) Q. rxi = distance between pile and neutral axis of pile group. rxi positive measured the same direction as e and negative when in the opposite direction. e = distance between point of intersection of resultant of vertical and horizontal loading with underside of pile. (Figure 3.1.2 – Example of a pile foundation – vertical piles) The sum of all the forces acting on the piles should be zero ⇔ ⇔ Mxi = Pi . rxi = k . rxi . ÃŽ ¸ rxi = k . ÃŽ ¸ r2xi => => Mxi = From previous equation, Mz = ÃŽ £Mz Applying the same principle, in the x direction we get equivalent equation. If we assume that the moment MX and MZ generated by the force Q are acting on a group of pile, then the sum of forces acting on a single pile will be as follows: If we dividing each term by the cross-sectional area of the pile, A, we can establish the working stream ÏÆ': CHAPTER 4 4 Load on Pile 4.1 Introduction â€Å"Piles can be arranged in a number of ways so that they can support load imposed on them. Vertical piles can be designed to carry vertical loads as well as lateral loads. If required, vertical piles can be combined with raking piles to support horizontal and vertical forces.† (Pile Foundation Design: A Student Guide by Ascalew Abebe Dr Ian GN Smith) â€Å"Often, if a pile group is subjected to vertical force, then the calculation of load distribution on single pile that is member of the group is assumed to be the total load divided by the number of piles in the group.† (Pile Foundation Design: A Student Guide by Ascalew Abebe Dr Ian GN Smith) However, if a given pile group is subjected to eccentric vertical load or combination of lateral vertical load that can start moment force. Proper attention should be given during load distribution calculation. 4.2 Pile Arrangement â€Å"Normally, pile foundations consist of pile cap and a group of piles. The pile cap distributes the applied load to the individual piles which, in turn, transfer the load to the bearing ground. The individual piles are spaced and connected to the pile cap. Or tie beams and trimmed in order to connect the pile to the structure at cut-off level, and depending on the type of structure and eccentricity of the load, they can be arranged in different patterns.† (Pile Foundation Design: A Student Guide by Ascalew Abebe Dr Ian GN Smith) (Figure 2.2 Pile Foundation Design: A Student Guide by Ascalew Abebe Dr Ian GN Smith)) In this section, considering pile/soil interaction, calculations on the bearing capacity of single piles subjected to compressive axial load has been described. During pile design, the following factors should be taken into consideration: Pile material compression and tension capacity. Deformation area of pile, bending moment capacity. Condition of the pile at the top and the end of the pile. Eccentricity of the load applied on the pile. Soil characteristics. Ground water level. 4.3 The behaviour of piles under load Piles are designed in line with the calculations based on load bearing capacity. It is based on the application of final axial-load, as per the given soil conditions at the site, within hours after the installation. This ultimate load capacity can be determined by either: The use of empirical formula to predict capacity from soil properties determined by testing. or Load test on piles at the site. When increasing compressive load is applied on the pile, the pile soil system reacts in a linear elastic way to point A on the above figure (load settlement). The pile head rebounds to the original level if the load realises above this point. â€Å"When the load is increase beyond point A there is yielding at, or close to, the pile-soil interface and slippage occurs until point B is reached, when the maximum skin friction on the pile shaft will have been mobilised. If the load is realised at this stage the pile head will rebound to point C, the amount of permanent settlement being the distance OC. When the stage of full mobilisation of the base resistance is reached (point D), the pile plunges downwards without any farther increase of load, or small increases in load producing large settlements.† (Pile Foundation Design: A Student Guide). 4.4 Geotechnical design methods In order to separate their behavioural responses to applied pile load, soils are classified as either granular / noncohesive or clays/cohesive. The generic formulae used to predict soil resistance to pile load include empirical modifying factors which can be adjusted according to previous engineering experience of the influence on the accuracy of predictions of changes in soil type and other factors such as the time delay before load testing. From figure 4.1b, the load settlement response is composed of two separate components, the linear elastic shaft friction Rs and non-linear base resistance Rb. The concept of the separate evaluation of shaft friction and base resistance forms the bases of static or soil mechanics calculation of pile carrying capacity. The basic equations to be used for this are written as: Q = Qb + Qs Wp Rc = Rb + Rs Wp Rt = Rs + Wp Where: Q = Rc = the ultimate compression resistance of the pile. Qb = Rb = base resistance. Qs = Rs = shaft resistance. Wp = weight of the pile. Rt = tensile resistance of pile. In terms of soil mechanics theory, the ultimate skin friction on the pile shaft is related to the horizontal effective stress acting on the shaft and the effective remoulded angle of friction between the pile and the clay and the ultimate shaft resistance Rs can be evaluated by integration of the pile-soil shear strength Ï€a over the surface area of the shaft. Ï„a = Ca + ÏÆ' n tanφ a Where: ÏÆ'n = Ks ÏÆ'v ∠´ Ï„a = Ca + KS ÏÆ'v tanφa where: p = pile perimeter L = pile length φ = angle of friction between pile and soil Ks = coefficient of lateral pressure The ultimate bearing capacity, Rb, of the base is evaluated from the bearing capacity theory: Ab = area of pile base. C = undrained strength of soil at base of pile. NC = bearing capacity factor. CHAPTER 5 5 Calculating the resistance of piles to compressive loads 5.1 Cast in Place Piles – Shaft resistance These piles are installed by drilling through soft overburden onto a strong rock the piles can be regarded as end-bearing elements and their working load is determined by the safe working stress on the pile shaft at the point of minimum cross-section, or by code of practice requirements. Bored piles drilled down for some depth into weak or weathered rocks and terminated within these rocks act partly as friction and partly as end-bearing piles. The author Duncan C. Wyllie, gives a detailed account of the factors governing the development of shaft friction over the depth of the rock socket. The factors which govern the bearing capacity and settlement of the pile are summarized as the following: The length to diameter ratio of the socket. The strength and elastic modulus of the rock around and beneath the socket. The condition of the side walls, that is, roughness and the presence of drill cuttings or bentonite slurry. Condition of the base of the drilled hole with respect to removal of drill cuttings and other loose debris. Layering of the rock with seams of differing strength and moduli. Settlement of the pile in relation to the elastic limit of the side-wall strength. Creep of the material at the rock/concrete interface resulting in increasing settlement with time. The effect of the length/diameter ratio of the socket is shown in Figure 5.1a, for the condition of the rock having a higher elastic modulus than the concrete. It will be seen that if it is desired to utilize base resistance as well as socket friction the socket length should be less than four pile diameters. The high interface stress over the upper part of the socket will be noted. The condition of the side walls is an important factor. In a weak rock such as chalk, clayey shale, or clayey weathered marl, the action of the drilling tools is to cause softening and slurrying of the walls of the borehole and, in the most adverse case, the shaft friction corresponds to that typical of a smooth-bore hole in soft clay. In stronger and fragmented rocks the slurrying does not take place to the same extent, and there is a tendency towards the enlargement of the drill hole, resulting in better keying of the concrete to the rock. If the pile borehole is drilled through soft clay this soil may be carried down by the drilling tools to fill the cavities and smear the sides of the rock socket. This behaviour can be avoided to some extent by inserting a casing and sealing it into the rock-head before continuing the drilling to form the rock socket, but the interior of the casing is likely to be heavily smeared with clay which will be carried down by the drilling tools into the rock socket. As mentioned in Duncan C. Wyllie, suggests that if bentonite is used as a drilling fluid the rock socket shaft friction should be reduced to 25% of that of a clean socket unless tests can be made to verify the actual friction which is developed. It is evident that the keying of the shaft concrete to the rock and hence the strength of the concrete to rock bond is dependent on the strength of the rock. Correlations between the unconfined compression strength of the rock and rock socket bond stress have been established by Horvarth(4.50), Rosenberg and Journeaux(4.51), and Williams and Pells(4.52). The ultimate bond stress, fs, is related to the average unconfined compression strength, quc, by the equation: Where ÃŽ ± = reduction factor relating to, quc as shown in Figure 5.1b ÃŽ ² = correction factor associated with cut-off spacing in the mass of rock as shown in Figure 5.1c. The curve of Williams and Pells in Figure 5.1b is higher than the other two, but the ÃŽ ² factor is unity in all cases for the Horvarth and the Rosenberg and Journeaux curves. It should also be noted that the ÃŽ ± factors for all three curves do not allow for smearing of the rock socket caused by dragdown of clay overburden or degradation of the rock. The ÃŽ ² factor is related to the mass factor, j, which is the ratio of the elastic modulus of the rock mass to that of the intact rock as shown in Figure 5.1d. If the mass factor is not known from loading tests or seismic velocity measurements, it can be obtained approximately from the relationships with the rock quality designation (RQD) or the discontinuity spacing quoted by Hobbs (4.53) as follows: 5.2 End Bearing Capacity Sometimes piles are driven to an underlying layer of rock. In such cases, the engineer must evaluate the bearing capacity of the rock. The ultimate unit point resistance in rock (Goodman, 1980) is approximately. N = tan2 (45 + / 2) qu = unconfined compression strength of rock = drained angle of friction Table 5.2a Table 5.2b The unconfined compression strength of rock can be determined by laboratory tests on rock specimens collected during field investigation. However, extreme caution should be used in obtaining the proper value of qu, because laboratory specimens usually are small in diameter. As the diameter of the specimen increases, the unconfined compression strength decreases a phenomenon referred to as the scale effect. For specimens larger than about 1 m (3f) in diameter, the value of qu remains approximately constant. There appears to be fourfold to fivefold reduction of the magnitude of qu in the process. The scale effect in rock is caused primarily by randomly distributed large and small fractures and also by progressive ruptures along the slip lines. Hence, we always recommend that: The above table (Table 5.2a) lists some representative values of (laboratory) unconfined compression strengths of rock. Representative values of the rock friction angle are given in the above table (Table 5.2b). A factor of safety of at least 3 should be used to determine the allowable point bearing capacity of piles. Thus: CHAPTER 6 6 Pile Load Test (Vesic’s Method) A number of settlement analysis methods for single piles are available. These methods may be broadly classified into three categories: Elastic continuum methods Load–transfer methods Numerical methods Examples of such methods are the elastic methods proposed by Vesic (1977) and Poulos and Davis (1980), the simplified elastic methods proposed by Randolph and Wroth (1978) and Fleming et al. (1992), the nonlinear load–transfer methods proposed by Coyle and Reese (1966) and McVay et al. (1989), and the numerical methods based on advanced constitutive models of soil behaviour proposed by Jardine et al. (1986). In this paper, three representative methods are adopted for the calibration exercise: the elastic method proposed by Vesic (1977), the simplified analysis method proposed by Fleming et al. (1992), and a nonlinear load–transfer method (McVay et al. 1989) implemented in program FB-Pier (BSI 2003). In Vesic’s method, the settlement of a pile under vertical loading, S, includes three components: S = S1 + S2 + S3 Where: S1 is the elastic pile compression. S2 is the pile settlement caused by the load at the pile toe. S3 is the pile settlement caused by the load transmitted along the pile shaft. If the pile material is assumed to be elastic, the elastic pile compression can be calculated by: S1 = (Qb + ÃŽ ¾Qs)L / (ApEp) Where Qb and Qs are the loads carried by the pile toe and pile shaft, respectively; Ap is the pile cross-section area; L is the pile length; Ep is the modulus of elasticity of the pile material; and ÃŽ ¾ is a coefficient depending on the nature of unit friction resistance distribution along the pile shaft. In this work, the distribution is assumed to be uniform and hence ÃŽ ¾ = 0.5. Settlement S2 may be expressed in a form similar to that for a shallow foundation. S2 = (qbD / Esb) (1-v2)Ib Where: D is the pile width or diameter qb is the load per unit area at the pile toe qb = Qb /Ab Ab is the pile base area Esb is the modulus of elasticity of the soil at the pile toe Ñ µ is Poisson’s ratio Ib is an influence factor, generally Ib = 0.85 S3 = (Qs / pL) (D / Ess) (1 – Ñ µ2) Is Where: p is the pile perimeter. Ess is the modulus of elasticity of the soil along the pile shaft. Is is an influence factor. The influence factor Is can be calculated by an empirical relation (Vesic 1977). Is = 2 + 0.35 √(L/D) With Vesic’s method, both Qb and Qs are required. In this report, Qb and Qs are obtained using two methods. In the first method (Vesic’s method I), these two loads are determined from a nonlinear load–transfer method, which will be introduced later. In the second method (Vesic’s method II), these two loads are determined using empirical ratios of Qb to the total load applied on pile Q based on field test data. Shek (2005) reported load–transfer in 14 test piles, including 11 piles founded in soil and 3 piles founded on rock. The mean ratios of Qb /Q for the piles founded in soil and the piles founded on rock are summarized in Table 3 and applied in this calibration exercise. The mean values of Qb /Q at twice the design load and the failure load are very similar. Hence, the average of the mean values is adopted for calibration at both twice the design load and the failure load. In the Fleming et al. method, the settlement of a pile is given by the following approximate closed-form solution (Fleming et al. 1992): Where: n = rb / r0, r0 and rb are the radii of the pile shaft and pile toe, respectively (for H-piles, Ï€ro2 = Ï€rb2 = Dh, h is the depth of the pile cross-section) ÃŽ ¾G = GL/Gb, GL is the shear modulus of the soil at depth L, and Gb is the shear modulus of the soil beneath the pile toe. Ï  = Gave/GL, Gave is the average shear modulus of the soil along the pile shaft p is the pile stiffness ratio p = Ep / GL; ÃŽ ¶ = ln{[0.25 +(2.5Ï (1 – v) –0.25) ÃŽ ¾G] L/r0}; É ¥L = (2/)1/2(L/r0). If the slenderness ratio L/r0 is less than 0.5p1/2 (L/r0) the pile may be treated as effectively rigid and eq. [7] then reduces to: If the slenderness ratio L/r0 is larger than 3Ï€p1/2, the pile may be treated as infinitely long, and eq. [7] then reduces to: In this case, GL’ is the soil shear modulus at the bottom of the active pile length Lac, where Lac = 3r0p1/2. In the nonlinear load–transfer method implemented in FB-Pier, the axial –Z curve for modelling the pile–soil interaction along the pile is given as (McVay et al. 1989)

Truman, the Atomic Bomb, and the Shaping of the Postwar World Essay

Truman, the Atomic Bomb, and the Shaping of the Postwar World ABSTRACT Historians have questioned the decision to drop atomic bombs on Japan in 1945. Evidence shows that President Truman weighed not only military information in his decision to use the bomb, but also considered postwar politics and foreign policy when he considered dropping the atomic bomb on Japan. An analysis of his personal papers offers a different reasoning for using the bomb than what was commonly known at the time. The discrepancy between Truman’s public and private reasoning will be discussed. Many cultural and racial beliefs about the Japanese played into the decision to drop the atomic bomb. The private papers of President Truman as well as the diaries of other political and military figures offer helpful insights. Personal accounts of the scientists at the Trinity test site are also used in examining the decision to drop the atomic bomb. Herein, there is an analysis of post-war US foreign policy from an atomic perspective which allows a person from my generation to understand the policies that were created by and followed from the Cold War. Assumptions About Dropping the Bomb 1. Many American soldiers would have died in a land invasion of Japan. Absolutely. Casualty estimates ranged from 250,000 American casualties to more than 5,000,000 Japanese casualties in a land invasion of Japan’s home islands. The real question is was a land invasion necessary? 2. We had to use the atomic bomb in order to defeat Japan. False. There were a few options available to the United States at the time. The USSR was supposed to enter the Japanese war, blockade and (aerial sorties) bombing was an option ... ... "[M]y own opinion was that the time now and the method now to deal with Russia was to keep our mouths shut and let our actions speak for words. The Russians will understand them better than anything else. It is a case where we have got to regain the lead and perhaps do it in a pretty rough and realistic way. They have rather taken it away from us because we have talked too much and have been too lavish with our beneficences to them. †¦This was a place where we really held all the cards. I called it a royal straight flush and we mustn't be a fool about the way we play it. They can't get along without our help and industries and we have coming into action a weapon which will be unique [the atomic bomb]. Now the thing is not to get into unnecessary quarrels by talking too much and not to indicate any weakness by talking too much; let our actions speak for themselves."

Essay --

Ethics of Dissection The use of dissection in classrooms is able to expand the knowledge of students by giving them a hands-on approach to anatomy. Dissection is one topic that is highly debated among all people who question whether it’s an ethical thing to do. According to Webster’s Dictionary the definition of the word ‘ethical’ means morally right and good or pertaining to right and wrong. The line between right and wrong is often a very thin line and many people don’t know where one ends and the other begins. I believe that dissection is an ethical way to get students more involved in learning and can give students a better understanding of the anatomical and physiological make-up of a once living organism. Creating an environment where kids are able to move around to learn instead of sitting in desks all day is important in the teaching process because the kids are able to participate directly, especially in dissection, without a teacher doing it for them. The National Science Teachers Association supports the idea of bringing in animals for dissection. â€Å"Student interaction w...

Effects of Music on the Growth of Mung Beans

CHAPTER V SUMMARY, CONCLUSION AND RECOMMENDATIONS This chapter presents the summary of finding the generalization of the conclusion and the recommendation for the further improvement of the study. I. Summary of Findings 1. Music affects the growth of Mung beans. As established in the experiment and based on the data gathered, music has a great effect on the growth of Mung beans. The varying degree of effect is dependent on the type or tempo of music to be played. 2.In general, music helps in the growth of plants. It hastens the growth of plants. As we conducted and observed our experiment, we noticed that classical music helps the Mung beans' growth. Plants exposed to rock music grew slower than those exposed to classical music; however, they grew faster than those exposed to no music. 3. The growth of the green variety of Mung beans is faster than those of the yellow variety in any of the environment they were subjected to.II. Conclusions 1. Music affects the growth of Mung beans as we observed the set-ups. The different aspects that we have observed where music was involved were the plant's height and the number of leaves produced. 2. Music helps the Mung beans' growth and does not hinder their development. 3. Music, more specifically the classic music, has effects on the growth of Mung beans especially on the growth of the green variety. III. Recommendations 1.As we have proven through the data gathered that music hastens the growth of plants, we recommend promoting the use of music in planting and other agricultural activities. This can be done through discussions in the different fora to bring to the awareness of the authorities and the agricultural sector the benefits of music in planting. 2. We recommend that in the utilization of music for plant growing, you should use classical music in order for you to grow your plants faster. 3. We recommend that further study be conducted to validate the findings of this paper.