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大连某高尔夫项目可行性研究报告

高尔夫项目

可行性研究报告

第一章总论 (4)

第一节项目概述 (4)

第二节项目主要技术经济指标 (5)

第三节编制依据 (8)

第二章市场分析与预测 (9)

第一节大连市宏观情况分析 (9)

第二节大连市房地产发展特征 (12)

第三节大连市高新园区区域总体分析 (20)

第三章市场调查及项目分析 (35)

第一节高新园区房地产市场调查 (35)

第二节项目SWOT分析 (38)

第三节项目定位及目标消费群体分析 (40)

第四章项目户型产品定位 (43)

第五章建设规模及方案 (45)

第六章相关单位简介 (52)

第七章销售价格与销售收入估算 (53)

第八章投资估算 (55)

第九章投资计划与资金筹措 (60)

第十章风险分析与防范对策 (61)

第十一章综合评价与建议 (63)

fiction is an image of people in action, moving towards an u ndeclared end. Thus character is alway s involved in fiction, even in the story of the simplest action. Sometimes character is at the center of our interest because in character we may see man facets of the people we meet in our daily life and even of ourselves. Fictional character is alway s character in action and the character gets into action because it is caught in a situation of conflict and he/she is alway s provided w ith motivation: he/she has sufficient reasons to act or behave as he /she d oes. The character is doing somethin g and the reader while reading fictio n wants to now the why as well as the “what” of the affairs. (Sometimes a character s motive for an action is not explained on acceptable ground s, for example, the villain in Adgar Allan Poe story The Tell-Tale Heart, and thus the reader feels cheated. In this case, the writer of detective fiction who mak es the criminal a mere lunatic has cheated the reader by avoiding the problem of motive.) And generally, the action itself is humanly sign ificant and

it ends usually in a shift in or clarification of human values, as display ed in John Upd ik A & P, and the motivation of a character in a story—one of the answers to the questio n why”—is of fundamental importance. I. What is Character? Clo sely related with the story is the character. Hen ry James sai d, “What is character but the determination of incident? What is incide nt 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 at a ll. The “fellow beings” in the novel is termed characters. By “fello w beings” is meant not only “human beings” but also “other beings,” suc h as a nima. George Orwell uses animals to represent human beings in his novel An imal Fa rm. Lewis Carrol creates man lovely animals in his Alice’s Adventures in Wonderland that appeal to bo th children and adults. Orwell d oes not in tend to con vince the reader that animals can speak human language or that he is a translator between animals and humans. No sensible reader, after

reading Orwell’s Anim al Fa rm, would go to the pigsty to lo for a talk in g boar. This proves the agreed-on fictionality of characters in novels. So broadly, a character is an invented perso nality to resemble but never to equa l a real perso n in life. It is n ot difficult to see that characters in novels resemble people in real life in many way s. They have names used in the same way 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 (lik e or d islik e). But we must bear in mind that the characters are not real persons, but merely inventions, owever ingeniou s. Compare the phy sical life and spir itual life of the characters and ours. We have to answer the nature’s ca ll several times a day, but characters seldom do this, even in the most realistic or naturalistic no vels. We have to live our life hour by hour and day by day, but charact ers never do this. They choose to live some time more fully than others, and are able to skip over periods on ten month s or twenty y ears 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 now w hat is g oing on in other’s min d. Bu t in novels, the minds of the characters are open or can be mad e open to the reader if the novelist so chooses. T he reader does not only see their clothes, bu t also see their minds. One character may be en emy to other charact ers, but he is friend to the reader, before whom he can thin aloud, to borrow Emerson’s w ords. Characters do not live, but a ct. When we watch actors spea aloud to themselves on the stage as if they were alone, we k now they are acting and they are differe nt from what they represent in real life. The characters in novels exist in a similar manner. II. Kinds of C haracters Usually, a novel has more than one character. They interact with each other and mak e up the story. But they are not equally important or have the same function to the novelist. By their roles in the n ovel, the characters can be grouped as heroes, main characters and minor characters, and foils. The character on who m a novel is called

the hero or heroine w hen it is a female character. The word “hero” originally refers to a man, in my thology and legend, often of divine ancestry, who is endowed with great courage and str ength, celebrated for his ho ld explo its, and favored by the gods. In the novel, the wor d “hero” is freed of suc h noble requirements and a ny central characters can be la beled a s heroes. Jonathan Wild is the hero in the novel of the same name b Henry Fielding, th ough he is a notorious h ighway man. Some critics, a nnoye d by the connotatio n of “hero,” prefer the word “protago nist,” which so unds ne utral. Th e enemy or rival of the protagonist is called “anta gonist The main or major characters are those in close a nd dy na mic relatio n wit h the hero or heroine. Clo se relation does not mea n go od relatio n. Pablo in For Whom the Bell Tolls is con stantly finding

第一章总论

第一节项目概述

一、项目背景

星海高尔夫项目地处大连市高知人群最密集的专属生活区，项目南侧濒临黄海、东侧紧依西尖山、西接旅顺南路、北临海事大学游泳训练馆。项目距大连最大的海滨广场星海广场约5公里；距大连市黑石礁车站约2.5公里；距大连市市中心约12公里；项目西行约50米，即为大连海事大学；东行约1.5公里，即为大连水产学院；项目位于高新技术产业园区，旅顺南路东南面，交通十分便利。

项目是一块依山面海的绝版稀有居住地块，原生态的自然环境、挺拔的山姿、悠长的海岸线和浓厚的文化氛围构建起惬意生活的完美框架。

项目实景图

二、项目概况

项目名称：星海高尔夫花园

开发商：大连洪富房地产开发有限公司

用地位置：甘井子区凌水镇旅顺南路

用地性质：军产土地

用地面积：118500m2

expression and son—composition), the manner in which they imitate is one (visual adornment), the thin gs they imitate are three (plot, characters, thought), and there is n othing more bey ond these. 2. What is Plo t under the pens of modern novelists and story tellers? And how to understand Plot in a story“”ppt: The queen d ied, no one new why, u ntil it was discovered that it was throu gh grief at the death of the ing.’…P. 6 It su spends the time-sequence, it moves as far away from the story as its limitations w ill allow.) The story and the character alone can not mak e a novel y e. To mak e a novel, a plo t is prerequisite. A loo at the example suggested by E.M. Forster will help to d istinguish between the story and the plot. The ing died and then the queen d ied is not a plot, but a story. If we mak e it The king d ied and then the queen died of grief, we have a plot. T his causal phrase of grief indicates ou r interpretation and th us arrangement of the happenings. In the world of reality events ta e place one after another in the natural temporal order, but in the world of fiction it is the no velist s design that one particular event occur after another particular event. The very word plot implies the novelist s rebellion against the natural law and his endeavor to ma e meanings out of the happening s that may otherwise be meaningless. The happenings may or may n ot be real happenings.(So what plot is --) A plot is a particu lar arrangement of happenings in a novel that is aimed at revealing their causal relation ship s or at convey ing the novelist s ideas. A plot is sometimes called a story line. The most importan t of the traditional p lot is that it should be a complete or unified action, that is, somethin g with a beginning, a middle, and an end. 3. The dramatic situation in a story. 4. The three parts of a plot: a beginnin g (exposition), a middle (su spense or a series of suspense ….foreshadowing… crisis a moment of hig h tensio n), and an end(a climax, the moment of greatest tension…the conclusio—falling action, reso lutio n or denouement). Plot a begin ning a midd le an end exposition some other events climax (the moment (suspense, a series of suspen se, of greatest tension, foreshadow ing, crisis) the conclusion-falling action, resolution or denouement) II. Rea d the stories of Rip Va n Winkle(Washington Irv ing) and David Swan (Nathaniel Hawthorne) III. Q uestions: (Fin ish reading the two stories and po int ou t the p lots of the two stories, the descriptive details, the exposition, characters) Rip Van Win le 1. Descrip tive details: the p lot of the story? 2. What part of the story seems lik e the exposition? 3. Where does the dramatic conflict? 4. What is the climax of the story? David Swan 5. the plo t of the story 6. How fu lly does the author draw the characters in the story? (Character traits are the qualities of a character s personality. They are revealed through a character s actions and words and th rough descriptio n). 7. More wor to do: something about the writers of the two stories. C ha pter T wo Character In the introduction we have said that fiction is an image of people in action, moving towards an u ndeclared end. Thus character is alway s involved in fiction, even in the story of the simplest action. Sometimes character is at the center of our interest because in character we may see man facets of the people we meet in our daily life and even of ourselves. Fictional character is alway s character in action and the character gets into action because it is caught in a situation of conflict and he/she is alway s provided w ith motivation: he/she has sufficient reasons to act or behave as he /she d oes. The character is doing somethin g and the reader while reading fictio n wants to now the why as well as the “what” of the affairs. (Sometimes a character s motive for an action is not explained on acceptable ground s, for example, the villain in Adgar Allan Poe story The Tell-Tale Heart, and thus the reader feels cheated. In this case, the writer of detective fiction who mak es the criminal a mere lunatic has cheated the reader by avoiding the problem of motive.) And generally, the action itself is humanly sign ificant and it ends usually in a shift in or clarification of human values, as display ed in John Upd ik A & P, and the motivation of a character in a story—one of the answers to the questio n why”—is of fundamental importance. I. What is Character? Clo sely related with the story is the character. Hen ry James sai d, “What is character but the determination of incident? What is incide nt 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 at a ll. The “fellow beings” in the novel is termed characters. By “fello w beings” is meant not only “human beings” but also “other beings,” suc h as a nima. George Orwell uses animals to represent human beings in his novel An imal Fa rm. Lewis Carrol creates man lovely animals in his Alice’s Adventures in Wonderland that appeal to bo th children and adults. Orwell d oes not in tend to con vince the reader that animals can speak human language or that he is a translator between animals and humans. No sensible reader, after reading Orwell’s Anim al Fa rm, would go to the pigsty to lo for a talk in g boar. This proves the agreed-on fictionality of characters in novels. So broadly, a character is an invented perso nality to resemble but never to equa l a real perso n in life. It is n ot difficult to see that characters in novels resemble people in real life in many way s. They have names used in the same way 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 (lik e or d islik e). But we must bear in mind that the characters are not real persons, but merely inventions, owever ingeniou s. Compare the phy sical life and spir itual life of the characters and ours. We have to answer the nature’s ca ll several times a day, but characters seldom do this, even in the most realistic or naturalistic no vels. We have to live our life hour by hour and day by day, but charact ers never do this. They choose to live some time more fully than others, and are able to skip over periods on ten month s or twenty y ears 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 now w hat is g oing on in other’s min d. Bu t in novels, the minds of the characters are open or can be mad e open to the reader if the novelist so chooses. T he reader does not only see their clothes, bu t also see their minds. One character may be en emy to other charact ers, but he is friend to the reader, before whom he can thin aloud, to borrow Emerson’s w ords. Characters do not live, but a ct. When we watch actors spea aloud to themselves on the stage as if they were alone, we k now they are acting and they are differe nt from what they represent in real life. The characters in novels exist in a similar manner. II. Kinds of C haracters Usually, a novel has more than one character. They interact with each other and mak e up the story. But they are not equally important or have the same function to the novelist. By their roles in the n ovel, the characters can be grouped as heroes, main characters and minor characters, and foils. The character on who m a novel is called

容积率：3.27（不含地下面积）

建筑型式：高层

项目实景图

三、项目位置图

具体位置：甘井子区凌水镇旅顺南路东南面，海事大学的对面

第二节项目主要技术经济指标

依据国家及大连市相关法律法规、标准规范、项目的规划方案及本公司前期所做市场调查报告综合分析，本项目由四个地块组成，本项目主要经济技术指标如表1-1所示。