大連某高爾夫項(xiàng)目可行性研究報(bào)告162293402

1、高爾夫項(xiàng)目可行性研究報(bào)告目 錄第一章 總 論4第一節(jié) 項(xiàng)目概述4第二節(jié) 項(xiàng)目主要技術(shù)經(jīng)濟(jì)指標(biāo)5第三節(jié) 編制依據(jù)8第二章 市場(chǎng)分析與預(yù)測(cè)9第一節(jié) 大連市宏觀情況分析9第二節(jié) 大連市房地產(chǎn)發(fā)展特征12第三節(jié) 大連市高新園區(qū)區(qū)域總體分析20第三章 市場(chǎng)調(diào)查及項(xiàng)目分析35第一節(jié) 高新園區(qū)房地產(chǎn)市場(chǎng)調(diào)查35第二節(jié) 項(xiàng)目swot分析38第三節(jié) 項(xiàng)目定位及目標(biāo)消費(fèi)群體分析40第四章 項(xiàng)目戶型產(chǎn)品定位43第五章 建設(shè)規(guī)模及方案45第六章 相關(guān)單位簡(jiǎn)介52第七章銷售價(jià)格與銷售收入估算53第八章 投資估算55第九章 投資計(jì)劃與資金籌措60第十章 風(fēng)險(xiǎn)分析與防范對(duì)策61第十一章 綜合評(píng)價(jià)與建議63introduct

2、ioni. why do we have such course?english literature is one of the compulsory and most important courses. however, the english literature courses offered are merely taught at the level of learning general information and developing literal understanding. admittedly, such courses help them/you a lot i

3、n their/your acquisition of the english language. but the function of english literature reaches far beyond that. in reading english literature, a student should have the power to discern how human beings translate their experience into artistic expression and representation; how writers, through th

4、eir creative impulses, convey to us their insights into human destiny and human life; and how social concern is involved in a specific form of human imagination. in addition, students should elevate to the level of cultivating a curiosity for the unknown, thinking cogently and logically, expressing

5、themselves clearly and concisely, and observing the world around them critically and objectively. but most students are still at a loss as to how they can effectively analyze a literary work by themselves in any of these respects, even though they have read plenty of excerpts from representative wor

6、ks in the british and american literary canon. and they tend to have little idea what role the beginning part plays in the whole story, how the plot develops and comes to resolution, in what way point of view determines a readers understanding of the story, and how the images and symbols are related

7、 to the theme. upon consideration of these factors, we have such course with the intention of cultivating both students literary sensibilities and their /your critical power when reading english short stories and novels.ii. introduction about reading a story1. what is story? “yes oh, dear, yesthe no

8、vel tells a story.” this is forsters remark, which is worth special attention, for he is someone in the trade and with rich experience. in his aspects of the novel he lists “story” as the first aspect. people reading novels for stories usually ask questions like “what happened next?” and “and” what

9、would he do next?” these questions attest to the two basic elements of a story. the one is the event and the other the time. a story is a series of happenings arranged in the natural temporal order as they occur. story is the basis of the novel, and indeed the basis of narrative works of all kinds.

10、2. the structure and functions of a storyplot; character; point of view; theme; style3. what is fiction?fiction, the general term for invented stories, now usually applied to novels, short stories, novella, romances, fables, and other narrative works in prose, even though most plays and narrative po

11、ems are also fictional. (p. 83. concise dictionary of literary terms)4. the story and the novelto read novels for story is nothing wrong, but nothing professional either. “one mark of a second-rate mind is to be always telling stories.” the remark by the french writer jean de la bruyere (16451696) i

12、s also true of the reader. if the purpose of the novel is only to tell stories, it could as well remain unborn, for newspapers and history books are sufficient to satisfy peoples desire for stories about both present and past, and even about future. in fact, many newapapermen have been dissatisfied

13、with their job of reporting and come into the field of novel writing. defoe, dickens, joyce, hemingway and camus were among the most famous and the most successful converts. even historians may feel obliged to do more than mere stories or facts. edward gibborns decline and fall of the roman empire i

14、s praised not only for its multitudinous facts and rationalistic analysis, but more for its beauty of narrative style. in telling stories, the novelist aims at something higher or he intends to add something to the mere “facts.” as indicated in the definition of the novel, what makes a novel is the

15、novelists style (personalized presentation of the story) and interpretation of the story.chapter one ploti. what is plot? 1. according to aristotle what are the six elements of the structure of tragedy?tragedy as a whole has just six constituent elements and they are plot, characters, verbal express

16、ion, thought, visual adornment, and songcomposition. for the elements by which they imitate are two (verbal expression and songcomposition), the manner in which they imitate is one (visual adornment), the things they imitate are three (plot, characters, thought), and there is nothing more beyond the

17、se. 2. what is plot under the pens of modern novelists and storytellers? and how to understand “plot” in a story? (“”ppt: the queen died, no one knew why, until it was discovered that it was through grief at the death of the king.p. 6 it suspends the time-sequence, it moves as far away from the stor

18、y as its limitations will allow.)the story and the character alone can not make a novel ye. to make a novel, a plot is prerequisite. a look at the example suggested by e.m. forster will help to distinguish between the story and the plot. “the king died and then the queen died” is not a plot, but a s

19、tory. if we make it “the king died and then the queen died of grief, we have a plot. this causal phrase “of grief” indicates our interpretation and thus arrangement of the happenings. in the world of reality events take place one after another in the natural temporal order, but in the world of ficti

20、on it is the novelists design that one particular event occur after another particular event. the very word “plot” implies the novelists rebellion against the natural law and his endeavor to make meanings out of the happenings that may otherwise be meaningless. “the happenings” may or may not be rea

21、l happenings.(so what plot is -) a plot is a particular arrangement of happenings in a novel that is aimed at revealing their causal relationships or at conveying the novelists ideas. a plot is sometimes called a story line. the most important of the traditional plot is that it should be a complete

22、or unified action, that is, something with a beginning, a middle, and an end.3. the dramatic situation in a story.4. the three parts of a plot: a beginning (exposition), a middle (suspense or a series of suspense .foreshadowing crisis a moment of high tension), and an end(a climax, the moment of gre

23、atest tensionthe conclusionfalling action, resolution or denouement).plot a beginning a middle an end exposition some other events climax (the moment(suspense, a series of suspense, of greatest tension,foreshadowing, crisis) the conclusion-fallingaction, resolution or denouement)ii. read the stories

24、 of rip van winkle(washington irving) and david swan (nathaniel hawthorne)iii. questions: (finish reading the two stories and point out the plots of the two stories, the descriptive details, the exposition, characters)rip van winkle1. descriptive details: the plot of the story?2. what part of the st

25、ory seems like the exposition? 3. where does the dramatic conflict? 4. what is the climax of the story?david swan5. the plot of the story? 6. how fully does the author draw the characters in the story? (character traits are the qualities of a characters personality. they are revealed through a chara

26、cters actions and words and through description).7. more works to do: something about the writers of the two stories.chapter two characterin the introduction we have said that fiction is an image of people in action, moving towards an undeclared end. thus character is always involved in fiction, eve

27、n in the story of the simplest action. sometimes character is at the center of our interest because in character we may see many facets of the people we meet in our daily life and even of ourselves. fictional character is always character in action and the character gets into action because it is ca

28、ught in a situation of conflict and he/she is always provided with motivation: he/she has sufficient reasons to act or behave as he /she does. the character is doing something and the reader while reading fiction wants to know the “why” as well as the “what” of the affairs. (sometimes a characters m

29、otive for an action is not explained on acceptable grounds, for example, the villain in adgar allan poestory “the tell-tale heart,” and thus the reader feels cheated. in this case, the writer of detective fiction who makes the criminal a mere lunatic has cheated the reader by avoiding the problem of

30、 motive.) and generally, the action itself is humanly significant and it ends usually in a shift in or clarification of human values, as displayed in john updikes “a & p,” and the motivation of a character in a storyone of the answers to the question “why”is of fundamental importance.i. what is char

31、acter?closely related with the story is the character. henry james said, “what is character but the determination of incident? what is incident but the illustration of character?” (the art of fiction”) when we read a novel, we read about our fellow beings, and that is one of the motives in reading a

32、t all. the “fellow beings” in the novel is termed characters. by “fellow beings” is meant not only “human beings” but also “other beings,” such as animals. george orwell uses animals to represent human beings in his novel animal farm. lewis carrol creates many lovely animals in his alices adventures

33、 in wonderland that appeal to both children and adults.orwell does not intend to convince the reader that animals can speak human language or that he is a translator between animals and humans. no sensible reader, after reading orwells animal farm, would go to the pigsty to look for a talking boar.

34、this proves the agreed-on fictionality of characters in novels. so broadly, a character is an invented personality to resemble but never to equal a real person in life. it is not difficult to see that characters in novels resemble people in real life in many ways. they have names used in the same wa

35、y ours are used, they have hatred and love, and they have desires and fears. above all, they act the way we act or the way we can understand (like or dislike).but we must bear in mind that the characters are not real persons, but merely inventions, however ingenious. compare the physical life and sp

36、iritual life of the characters and ours. we have to answer the natures call several times a day, but characters seldom do this, even in the most realistic or naturalistic novels. we have to live our life hour by hour and day by day, but characters never do this. they choose to live some time more fu

37、lly than others, and are able to skip over periods on ten months or twenty years without seeming weird, a feat which we can never attempt. in our life, our minds are a gray matter even to scientists. we can not know what is going on in others mind. but in novels, the minds of the characters are open

38、 or can be made open to the reader if the novelist so chooses. the reader does not only see their clothes, but also see their minds. one character may be enemy to other characters, but he is friend to the reader, before whom he can think aloud, to borrow emersons words. characters do not live, but a

39、ct. when we watch actors speak aloud to themselves on the stage as if they were alone, we know they are acting and they are different from what they represent in real life. the characters in novels exist in a similar manner.ii. kinds of charactersusually, a novel has more than one character. they in

40、teract with each other and make up the story. but they are not equally important or have the same function to the novelist. by their roles in the novel, the characters can be grouped as heroes, main characters and minor characters, and foils.the character on whom a novel is called the hero or heroin

41、e when it is a female character. the word “hero” originally refers to a man, in mythology and legend, often of divine ancestry, who is endowed with great courage and strength, celebrated for his hold exploits, and favored by the gods. in the novel, the word “hero” is freed of such noble requirements

42、 and any central characters can be labeled as heroes. jonathan wild is the hero in the novel of the same name by henry fielding, though he is a notorious highwayman. some critics, annoyed by the connotation of “hero,” prefer the word “protagonist,” which sounds neutral. the enemy or rival of the pro

43、tagonist is called “antagonist.”the main or major characters are those in close and dynamic relation with the hero or heroine. close relation does not mean good relation. pablo in for whom the bell tolls is constantly finding第一章 總 論第一節(jié) 項(xiàng)目概述一、項(xiàng)目背景星海高爾夫項(xiàng)目地處大連市高知人群最密集的專屬生活區(qū)，項(xiàng)目南側(cè)瀕臨黃海、東側(cè)緊依西尖山、西接旅順南路、北臨海事

44、大學(xué)游泳訓(xùn)練館。項(xiàng)目距大連最大的海濱廣場(chǎng)星海廣場(chǎng)約5公里；距大連市黑石礁車站約2.5公里；距大連市市中心約12公里；項(xiàng)目西行約50米，即為大連海事大學(xué)；東行約1.5公里，即為大連水產(chǎn)學(xué)院；項(xiàng)目位于高新技術(shù)產(chǎn)業(yè)園區(qū)，旅順南路東南面，交通十分便利。項(xiàng)目是一塊依山面海的絕版稀有居住地塊，原生態(tài)的自然環(huán)境、挺拔的山姿、悠長(zhǎng)的海岸線和濃厚的文化氛圍構(gòu)建起愜意生活的完美框架。項(xiàng)目實(shí)景圖二、項(xiàng)目概況項(xiàng)目名稱：星海高爾夫花園開發(fā)商： 大連洪富房地產(chǎn)開發(fā)有限公司用地位置：甘井子區(qū)凌水鎮(zhèn)旅順南路用地性質(zhì)：軍產(chǎn)土地用地面積：118500m2總建筑面積：387123.49m2容積率：3.27（不含地下面積）建筑型式：

45、高層項(xiàng)目實(shí)景圖三、項(xiàng)目位置圖具體位置：甘井子區(qū)凌水鎮(zhèn)旅順南路東南面，海事大學(xué)的對(duì)面第二節(jié) 項(xiàng)目主要技術(shù)經(jīng)濟(jì)指標(biāo)依據(jù)國家及大連市相關(guān)法律法規(guī)、標(biāo)準(zhǔn)規(guī)范、項(xiàng)目的規(guī)劃方案及本公司前期所做市場(chǎng)調(diào)查報(bào)告綜合分析，本項(xiàng)目由四個(gè)地塊組成，本項(xiàng)目主要經(jīng)濟(jì)技術(shù)指標(biāo)如表1-1所示。表1-1 總體技術(shù)經(jīng)濟(jì)指標(biāo)用地名稱單位數(shù)量備注規(guī)劃總用地ha11.858總建筑面積m2387123.49不含地下面積其中1、住宅建筑面積m2251062.192、公寓建筑面積m262349.823、公建建筑面積m236350.17其中酒店面積：14936.124、現(xiàn)有住宅面積m224048.755、酒店式公寓建筑面積m210312.56

46、6、變電所及小區(qū)公共配套m23000地下面積m274128.20綠地率%36.2容積率-3.24不含地下面積表1-2 項(xiàng)目a區(qū)總體技術(shù)經(jīng)濟(jì)指標(biāo)用地名稱單位數(shù)量備注a-1區(qū)規(guī)劃總用地ha1.433總建筑面積m251966.2不含地下面積其中1.公寓建筑面積m226717.522.公建建筑面積m214936.123.酒店建筑面積m210312.56地下面積m218935.26容積率-3.63不含地下面積a-2區(qū)規(guī)劃總用地ha0.872總建筑面積m242969.67不含地下面積其中1.公寓建筑面積m235632.32.公建建筑面積m28837.37地下面積m25380.98地上停車位位27容積率-4

47、.93不含地下面積a區(qū)綜合規(guī)劃總用地ha2.305總建筑面積m294935.87不含地下面積其中1.公寓建筑面積m262349.822.公建建筑面積m223773.493.酒店建筑面積m210312.56地下面積m224316.24容積率-4.12不含地下面積表1-3項(xiàng)目b區(qū)總體技術(shù)經(jīng)濟(jì)指標(biāo)用地名稱單位數(shù)量備注b區(qū) 規(guī)劃總用地ha4.931總建筑面積m2144562.04不含地下面積其中1.住宅建筑面積m2118467.752.現(xiàn)有住宅面積m224048.753.公建建筑面積m22045.54地下面積m228708.85綠地率%38容積率-2.90表1-4項(xiàng)目c區(qū)總體技術(shù)經(jīng)濟(jì)指標(biāo)用地名稱單位數(shù)

48、量備注c區(qū) 規(guī)劃總用地 ha2.842總建筑面積m275553.55 不含地下面積其中1.住宅建筑面積m270827.062.公建建筑面積m24726.49地下面積m214480.00綠地率%35.30 容積率-2.66表1-5項(xiàng)目d區(qū)總體技術(shù)經(jīng)濟(jì)指標(biāo)用地名稱單位數(shù)量備注d區(qū) 規(guī)劃總用地ha1.780 總建筑面積m270572.03 不含地下面積其中1.住宅建筑面積m261767.38 2.公建建筑面積m28804.65 地下面積m26623.11地上停車位位33綠地率%38.3 容積率-3.96第三節(jié) 編制依據(jù)本報(bào)告的編制依據(jù)：1、投資項(xiàng)目可行性研究指南；2、建設(shè)項(xiàng)目經(jīng)濟(jì)評(píng)價(jià)方法與參數(shù)；3、

49、房地產(chǎn)開發(fā)項(xiàng)目經(jīng)濟(jì)評(píng)價(jià)方法；4、國家相關(guān)法律法規(guī)；5、國家現(xiàn)行的財(cái)稅制度和有關(guān)規(guī)定；6、銷售額按全銷售計(jì)；7、銷售單價(jià)以銷售均價(jià)表示；8、貸款利率取央行2007年12月21日最新發(fā)布的一年期貸款利率7.47%，采用復(fù)利按月計(jì)息，貸款1億元，借款周期為1年，項(xiàng)目進(jìn)入銷售階段，逐月還本付息；9、依據(jù)目前大連市房地產(chǎn)市場(chǎng)周期現(xiàn)狀，本項(xiàng)目開發(fā)周期擬定共32個(gè)月，約2.67年； 10、住宅銷售均價(jià)參照大連市及高新園區(qū)可比房地產(chǎn)項(xiàng)目現(xiàn)售價(jià)格及項(xiàng)目地理位置特點(diǎn)估測(cè)；11、甲方提供相關(guān)數(shù)據(jù)。65introductioni. why do we have such course?english literatu

50、re is one of the compulsory and most important courses. however, the english literature courses offered are merely taught at the level of learning general information and developing literal understanding. admittedly, such courses help them/you a lot in their/your acquisition of the english language.

51、 but the function of english literature reaches far beyond that. in reading english literature, a student should have the power to discern how human beings translate their experience into artistic expression and representation; how writers, through their creative impulses, convey to us their insight

52、s into human destiny and human life; and how social concern is involved in a specific form of human imagination. in addition, students should elevate to the level of cultivating a curiosity for the unknown, thinking cogently and logically, expressing themselves clearly and concisely, and observing t

53、he world around them critically and objectively. but most students are still at a loss as to how they can effectively analyze a literary work by themselves in any of these respects, even though they have read plenty of excerpts from representative works in the british and american literary canon. an

54、d they tend to have little idea what role the beginning part plays in the whole story, how the plot develops and comes to resolution, in what way point of view determines a readers understanding of the story, and how the images and symbols are related to the theme. upon consideration of these factor

55、s, we have such course with the intention of cultivating both students literary sensibilities and their /your critical power when reading english short stories and novels.ii. introduction about reading a story1. what is story? “yes oh, dear, yesthe novel tells a story.” this is forsters remark, whic

56、h is worth special attention, for he is someone in the trade and with rich experience. in his aspects of the novel he lists “story” as the first aspect. people reading novels for stories usually ask questions like “what happened next?” and “and” what would he do next?” these questions attest to the

57、two basic elements of a story. the one is the event and the other the time. a story is a series of happenings arranged in the natural temporal order as they occur. story is the basis of the novel, and indeed the basis of narrative works of all kinds. 2. the structure and functions of a storyplot; character; point of view; t