The sum of the dimensions of a room (i.e. length, breadth and height) is 18 metres and its length, breadth and height are in the ratio of 3 : 2 : 1 respectively. If the room is to be painted at the rate of Rs. 15 per m2, what would be the total cost ?->(Show Answer!)

1. The sum of the dimensions of a room (i.e. length, breadth and height) is 18 metres and its length, breadth and height are in the ratio of 3 : 2 : 1 respectively. If the room is to be painted at the rate of Rs. 15 per m2, what would be the total cost incurred on painting only the four walls of the room (in Rs.)?

Write Comment

Comments

By: anil on 05 May 2019 01.37 am

Let the dimension of the room be $$3x , 2x , x$$ metres Acc. to ques, => $$3x + 2x + x = 18$$ => $$x = frac{18}{6} = 3$$ metres Curved surface area of the room = $$2 h (l + b)$$ = $$2 imes x imes (3x + 2x) = 2x imes 5x$$ = $$10 (x)^2 = 10 imes (3)^2$$ = $$10 imes 9 = 90 m^2$$ $$ herefore$$ Total cost incurred on painting only the four walls of the room = $$15 imes 90$$ = $$Rs. 1,350$$

Tags

Show Similar Question And Answers

QA->The length, breadth, height of a rectangular prism are 20cm, 15cm, and 10 cm respectively. Its whole surface area will be :....

QA->The sum and product of two numbers are 13 and 40 respectively. The sum of their reciprocals is :....

QA->How long does a train 110 metres long running at a speed of 36 km/hour take to cross a bridge of 132 metres in length?....

QA->Direct Labour cost is Rs.20,000, Factory overheads expense is Rs.10,000, opening and closing work-in-progress are Rs.15,000 and Rs.18,000 respectively, then works cost will be…….....

QA->A school has only three classes comprised of 40, 50 and 60 students respectively. In these classes, 10%, 20% and 10% students respectively passed in the examinations. What is the percentage of students passed in the examination from the entire school?....

MCQ->The sum of the dimensions of a room (i.e. length, breadth and height) is 24 metres and its length, breadth and height are in the ratio of 8: 7 : 5 respectively. If the room is to be painted at the rate of Rs. 12 per m2, what would be the total cost incurred on painting only the four walls of the room (in Rs.)?....

MCQ->The sum of the dimensions of a room (i.e. length, breadth and height) is 18 metres and its length, breadth and height are in the ratio of 3 : 2 : 1 respectively. If the room is to be painted at the rate of Rs. 15 per m2, what would be the total cost incurred on painting only the four walls of the room (in Rs.)?....

MCQ-> Based on the information below, answer the questions which follow.Richie invites three of his friends Sunny, Pinky and Nancy for his birthday party organised at his home. As the party goes on till late in the night, Sunny, Pinky and Nancy choose to stay at Richie's house. Being good friends they usually stay back at each other's house. Each one of them including Richie stay either in the room painted blue or in the room painted purple. They have adequate number of rooms of both colours. The preferences which need to be fulfilled are: i. If Sunny stays in the room painted purple, then Pinky and Richie stay in the same room as Nancy.ii. If Pinky stays in the room painted purple, then Sunny stays in the room in which Nancy and Richie don't stay. iii. if Nancy stays in the room painted blue, then Sunny and Richie stay in the room which Pinky has chosen. iv. If Richie stays in the room painted Blue then Sunny and Pinky do not stay in the same room as Nancy.Under all possible combinations which of the two friends will always have their room colours unchanged.
....

MCQ-> Study the following information carefully and answer the questions.For a room, the rate of painting is Rs. 3200 per square metre. The rate of carpeting per square metre is 120% of that of tiling. The cost of decorating the room Is 14 times to that of carpeting on the floor. The cost of electrification is 75% of that of carpeting the floor. The rate of tiling on the floor is 125% of that of painting. The dimensions of the room are 6 m x 6m x 5m.What is the ratio of the cost of painting the four walls of the room and that of decoration ?
....

MCQ-> The painter is now free to paint anything he chooses. There are scarcely any forbidden subjects, and today everybody is prepared o admit that a painting of some fruit can be as important as painting of a hero dying. The Impressionists did as much as anybody to win this previously unheard of freedom for the artist. Yet, by the next generation, painters began to abandon tie subject altogether, and began to paint abstract pictures. Today the majority of pictures painted are abstract.Is there a connection between these two developments? Has art gone abstract because the artist is embarrassed by his freedom? Is it that, because he is free to paint anything, he doesn’t know what to paint? Apologists for abstract art often talk of it as Inc art of maximum freedom. But could this be the freedom of the desert island? It would take too long to answer these questions properly. I believe there is a connection. Many things have encouraged the development of abstract art. Among them has been the artists’ wish to avoid the difficulties of finding subjects when all subjects are equally possible.I raise the matter now because I want to draw attention to the fact that the painter’s choice of a subject is a far more complicated question than it would at first seem. A subject does not start with what is put in front of the easel or with something which the painter happens to remember. A subject starts with the painter deciding he would like to paint such-and-such because for some reason or other he finds it meaningful. A subject begins when the artist selects something for special mention. (What makes it special or meaningful may seem to the artist to be purely visual — its colours or its form.) When the subject has been selected, the function of the painting itself is to communicate and justify the significance of that selection.It is often said today that subject matter is unimportant. But this is only a reaction against the excessively literary and moralistic interpretation of subject matter in the nineteenth century. In truth the subject is literally the beginning and end of a painting. The painting begins with a selection (I will paint this and not everything else in the world); it is finished when that selection is justified (now you can see all that I saw and felt in this and how it is more than merely itself).Thus, for a painting to succeed it is essential that the painter and his public agree about what is significant. The subject may have a personal meaning for the painter or individual spectator; but there must also be the possibility of their agreement on its general meaning. It is at this point that the culture of the society and period in question precedes the artist and his art. Renaissance art would have meant nothing to the Aztecs — and vice versa. If, to some extent, a few intellectuals can appreciate them both today it is because their culture is an historical one: its inspiration is history and therefore it can include within itself, in principle if not in every particular, all known developments to date.When culture is secure and certain of its values, it presents its artists with subjects. The general agreement about what is significant is so well established that the significance of a particular subject accrues and becomes traditional. This is true, for instance, of reeds and water in China, of the nude body in Renaissance, of the animal in Africa. Furthermore in such cultures the artist is unlikely to be a free agent: he will be employed for the sake of particular subjects, and the problem, as we have just described it, will not occur to him.When a culture is in a state of disintegration or transitions the freedom of the artist increases — but the question of subject matter becomes problematic for him: he, himself, has to choose for society. This was at the basis of all the increasing crises in European art during the nineteenth century. It is too often forgotten how any of the art scandals of that time were provoked by the choice of subject (Gericault, Courbet, Daumier, Degas, Lautrec, Van Gogh, etc.).By the end of the nineteenth century there were, roughly speaking, two ways in which the painter could meet this challenge of deciding what to paint and so choosing for society. Either he identified himself with the people and so allowed their lives to dictate his subjects to him or he had to find his subjects within himself as painter. By people I mean everybody except the, bourgeoisie. Many painters did of course work for the bourgeoisie according to their copy-book of approved subjects, but all of them, filling the Salon and the Royal Academy year after year, are now forgotten, buried under the hypocrisy of those they served so sincerely.When a culture is insecure, the painter chooses his subject on the basis of:
....