SN-381-艺术照明与空间环境 酒吧与餐厅
LOFT主题西餐厅人性化灯光设计的研究
1文|关 玥LOFT 主题西餐厅人性化灯光设计的研究摘要：西餐厅已经成为人们当前就餐的主要选择之一。
与其他餐饮空间相比，人们选择西餐厅的主要原因之一为：该空间能够为人们提供更加舒适的用餐环境。
本文从LOFT 主题西餐厅的特点入手，对LOFT 主题西餐厅人性化灯光设计进行分析和研究。
关键词：LOFT 主题西餐厅；人性化灯光；设计在我国经济不断发展的背景中，人们的生活水平发生了相应的提升。
在这种情况下，餐饮作为人们生活中的一种重要需求，人们对餐饮空间环境提出了更高的要求。
就LOFT 主题西餐厅而言，面临巨大的市场竞争压力，其需要通过灯光设计人性化水平的提升，将更多的消费者吸引到这种餐饮空间中。
一、LOFT 主题西餐厅的特点1、注重精神满足特点随着生活水平的不断提升，精神需求的重要性逐渐向物质需求趋近。
而从满足难度来看，人们精神需求的满足难度显著高于物质需求。
基于这种现象，LOFT 主题西餐厅的注重精神需求满足特点使得其吸引了较多的消费者[1]。
2、文化娱乐与生活联系性特点餐饮是一种重要的生活需求。
这种需求与文化娱乐功能之间通常存在较大距离，LOFT 主题西餐厅将这两种功能完美地结合在一起。
在这种餐饮空间中，人们的不同功能都可以得到有效满足。
二、LOFT 主题西餐厅人性化灯光设计这里主要从以下几方面入手，对LOFT 主题西餐厅人性化灯光设计进行分析：1、LOFT 主题西餐厅人性化灯光设计的要求为了提升这种餐饮空间灯光设计的人性化水平，在实际的灯光设计工作中，需要严格按照以下几种要求开展灯光设计工作：1）情感满足要求随着人们对精神需求重视程度的不断提升，情感满足在餐饮空间灯光人性化设计中占据的比重也发生了显著增加。
就LOFT 主题西餐厅而言，需要将灯光设计的安抚性作用、愉悦心情作用有效发挥出来。
从颜色角度来讲，暖色系的灯光颜色应用更容易实现达到这种要求，使得消费者在品尝食物的同时，能够获得良好的情感体验。
2022年安徽师范大学硕士研究生招生专业目录
全日制
3
Z0717美术教育学
专业代码及名称：
135107美术[专业学位]
拟招生：56人
研究方向
学习方式
学制
初试科目
复试科目
备注
03书法创作研究
全日制
3
①101思想政治理论
②204英语二
③671中外美术史
④512书法命题创作
Z0707书法临摹
不招收同等学力考生。
01油画创作研究（版画、水彩）
②204英语二
③333教育综合
④821教育技术学（含C语言程序设计）
Z0219教育技术理论与实践
不招收同等学力考生。
02心理健康教育
非全日制
3
①101思想政治理论
②204英语二
③333教育综合
④823心理健康教育
Z0203发展心理学
只招收心理学或应用心理学专业本科生。
03教育管理
非全日制
3
①101思想政治理论
拟招生：54人
研究方向
学习方式
学制
初试科目
复试科目
备注
01现代教育技术
全日制
3
①101思想政治理论
②204英语二
③333教育综合
④821教育技术学（含C语言程序设计）
Z0219教育技术理论与实践
不招收同等学力考生。 其中中美合作项目拟招生计划为25。
02现代教育技术(中美合作)
全日制
3
专业代码及名称：
拟招生：25人
研究方向
学习方式
学制
初试科目
复试科目
备注
01汉语作为第二语言教学
全日制
2
西顿照明公司简介和产品介绍
LIGHT DESIGNED BY DESIGNEDLIGHT.PRODUCT SYSTEM产品体系
西顿拥有丰富的产品线，款式新颖、品类齐全，包括商业照明、酒店照明、办公照明、户外照明、家居照明、光源电器、电工产品等上千款产品，为客户提供完善的产品和系统照明解决方案。
CDN Project Case上海凌空SOHO西顿工程案例
为杰作设计杰作Light Designed By Designed Light CDN LIGHT
01上海凌空SOHO凌空SOHO位于上海虹桥临空经济园区，由全球著名建筑师、普利兹克奖获得者扎哈哈迪德（Zaha Hadid）担纲设计，这也是她在上海的第一个建筑设计作品。该建筑群占地8 .6万 余平方米，总建筑面积约3 5万 平方米，12栋建筑被16条空中连桥连接成一个空间网络，拥有动感十足的流线型外观以及流动而丰富的空间变化，宛如四列巨型高铁蓄势待发。
为杰作设计杰作Light Designed By Designed Light CDN LIGHT
01大堂前台墙面装饰以飞溅的水浪纹为灵感，将飞溅的那一瞬间定格在灰白的大理石墙面。充满艺术感的造型和金属材质的运用，此刻在灯带和洗墙灯光的映衬下，呈现出极具美感的光影效果，仿佛如泼洒的水墨，亦或如飞舞的银蛇，以水的灵动演绎出了别样的艺术之美。而天花灯光将左边的格栅屏风的细节和纹理刻画，将中国古典韵味完美展现。
西顿照明 | 照耀金砖 光明未来
01西顿照明与温德姆酒店集团合作，在为厦门润丰吉祥温德姆至尊酒店提供的产品及服务中，秉持 “为杰作设计杰作”的工匠精神，洞察需求中其最微小的细节，把控产品的每道工序，以精妙舒适的光环境、细致入微的服务，以营造悠闲轻松的氛围，旨在为新生代睿智旅客打造个性化的奢华入住体验。
国标代码三级学科 艺术设计学
国标代码三级学科艺术设计学
艺术设计学
专业代码：010101
专业人气：30917
专业介绍
学科：文学
门类：艺术类
专业名称：艺术设计学
业务培养目标：本专业培养具备艺术设计学教学和研究等方面的知识和能力，能在艺术设计教育、研究、设计、出版和文博等单位从事艺术设计学教学、研究、编辑等方面工作的专门人才。
业务培养要求：本专业学生主要学习艺术设计学方面的基本理论和基本知识，使学生通过艺术设计理论思维能力、造型艺术基础及设计原理与力法的基本训练，具备了解艺术设计的历史、现状和进行理论研究的基本素质。
毕业生应获得以下几方面的知识和能力：
1.掌握艺术设计学的基本理论和基本状况；
2.掌握艺术设计的历史与发展规律；
3.掌握艺术设作品的分析方法和评价原则；
4.具有进行艺术设计学研究与教学的基本能力；
5.了解国家相关经济、文化、艺术事业的方针、政策和法规；
6.了解国内外艺术设计学及艺术设计研究的发展动态。
主干学科：艺术学、历史学、哲学
主要课程：艺术设计概论、艺术设计学、中国艺术设计史、外国艺术设计史、中国工艺美术史、外国工艺美术史、艺术考古学、艺术设计基础等。
主要实践性教学环节：社会调研、艺术设计实践、文化史迹考察等
修业年限：四年
授予学位：文学学士。
工业老厂房旧时印记与现在、未来融合的新生——一酌酒吧
项目名称：一 酌 ONE DROP BAR 项目地点：无锡市滨湖区湖滨路11号建筑面积：150平方米建筑设计：隈研吾建築都市设计事务所室内设计：BANZH ARCHITECT本築建築师工作室主创设计：倪振华装置艺术：上海笔锯匠新艺术创作 周宇灯光顾问：蒋雷表现设计：殷俊平面设计：江苏师范大学美术学院 杨彭设计时间：2016.02-05竣工时间：2016.09摄 影：ingallery 金啸文，丛林现在、未来融合的新生——一酌酒吧ONE DROP BAR，一酌酒吧的所在地——无锡运河外滩，为京杭大运河边的“无锡机床厂”旧址，1912年，荣德生始提自办民族机器制造业的构想，后有1938年荣氏企业的“公益铁工厂”及1948年“开源机器厂”，再至新中国成立后1952年更名为“无锡机床厂”，2007年被列为无锡首批工业遗产保护单位。
日本知名建筑师隈研吾于近年完成了它的整体建筑改造设计，项目的背景特质在于工业遗留景观和滨河景观，前者是需要保护的民族工商业历史文化遗产，而后者则代表了无锡这座城市漕运文明的起源，在这样久经历史跨度和沧桑的建筑内部做一个酒吧的空间设计，无疑是一番挑战。
原有老厂房的大件车间经改造后增设了二层钢结构回廊，具备了商场的“迂回可逛”功能，然而现有商家无外乎遵循着刻板统一的门脸“过道红线”橱窗表面的设计虽各有特点，却仍难以避免建筑室内形式感的单一和乏味，失去了创意型建筑空间多样化的可能性和必需性。
酒吧位于二层结构跨度的正中央，BANZH ARCHITECT 本築对隈研吾“负建筑”的哲学作了充分解读，将门脸的“过道红线”退让、内收至1.2米后虽牺牲了酒吧约13平米的室内建筑面积，却获得了与室外二层原过道合为一体后形成的约40平米场域空间，并将20世纪60年代较为流行的建筑设计倾向——象征主义（Symbolisn）手法揉入其中，亦呼应着彼时老厂房响应新中国大工业生产的时代背景。
如果说世界文化遗产京杭古运河孕育了无锡的漕运文明和民族工商业文明，那么大西洋海风拂过之处，便蒸馏出苏格兰艾雷海峡的壮美2012年，位于南部海岸的ARDBEG 酒厂将新酿威士忌送入距地球250英里的国际空间站，进行为期两年的陈酿，首席威士忌酒评家及著名品酒0101-02门头透视03外立面04-05室内全景020304 0506宝典Whisky Bible出版人Jim Murray对阿贝做出这样的评价：“这无疑是全球最伟大的酿酒厂。
波·诺瓦茶餐厅场地设计分析PPT课件
开展试验示范
在盖州地区选择代表性的农田开展生物刺激素的试验示范 ，通过实际效果展示，让农民直观地了解生物刺激素的应 用效果。
政策扶持与资金支持
政府应出台相关政策，对生物刺激素的研发、生产和推广 给予扶持。同时，提供资金支持，降低农民使用生物刺激 素的成本。
加强合作与交流
加强与国内外相关企业和研究机构的合作与交流，引进先 进的生物刺激素产品和技术，提高盖州地区在现代农业领 域的竞争力。
改善农产品品质
生物刺激素能够改善农产品的营养价值，提高蛋 白质、维生素等营养成分的含量。
生物刺激素能改善农产品的口感、色泽和耐贮性， 提高农产品的商品价值。
生物刺激素还能降低农产品中的有害物质含量， 如农药残留和重金属等，提高农产品的安全性。
减少化肥和农药的使用
生物刺激素能够促进植物对营养成分 的吸收和利用，减少化肥的使用量， 降低化肥对土壤和环境的污染。
积极参与国际农业合作项目，引进国外先 进的生物刺激素技术和经验，推动盖州地 区农业的可持续发展。
06 结论
总结生物刺激素在现代农业中的重要性与应用价值
提高产量与品质
增强抗逆性
生物刺激素能够促进植物生 长，提高作物的产量和品质， 为农业生产带来显著的经济 效益。
生物刺激素有助于增强植物 的抗逆性，使其在干旱、高 温、盐碱等不利环境下仍能 保持良好的生长状态。
生物刺激素的发展趋势与前景
技术创新
随着生物技术的不断进步，生物 刺激素的研发和应用将更加广泛 和深入，有望解决更多农业生产 中的问题。
市场需求增长
随着人口增长和食品安全问题的 凸显，对高效、环保的农业生产 方式的需求将增加，生物刺激素 的市场需求有望增长。
国际合作与交流
西顿照明7月LED新品介绍
芯片品牌 晶元
规格特点
产品特点
替换：替代调光LED软光带，做暗槽装饰照明 安装方式：明装，一条回路最多串接10只。 1、在调到最暗时灯光不会出现闪烁！0~10V调光，适合于高端酒店照明； 2、无暗区拼接。
产品应用场所
多运用于酒店、会所、别墅等等需要调光的空间
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规格参数
产品型号 CED11039 CED11042 CED11040
功率 3*1W 3*1W 3*1W
光束角 24° 24° 24°
开孔尺寸 58mm 72mm
色温
3000K 4000K 6400k
匹配电器 CE3*1/N
芯片品牌 晶元
产品特点
采用铝合金车削成型，质感高档，精致美观； １
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高透光率PC成型LED透镜，控光精准，光通输出高；
ledled酒店筒灯点光源面光源酒店筒灯点光源面光源ledled产品巴赫化产品巴赫化14点光源应用场所示意图点光源应用场所示意图酒店会所做重点照明使用酒店会所做重点照明使用15点光源应用场所示意图点光源应用场所示意图酒店会所做基础照明使用酒店会所做基础照明使用16产品型号产品型号功率功率光束角光束角开孔尺寸开孔尺寸色温色温匹配电器匹配电器光通量光通量lmlm替换光源替换光源cea1095115w1595mm3000kce91592275w卤素灯cea1125124w30125mmce123156335wpar20lcea1150138w15150mmcecc10001216135w金卤或120wpar38射灯cea1200150w24200mmcecc20001315170w金卤灯点光源规格参数点光源规格参数17产品特点产品特点18产品型号产品型号功率功率光束角光束角开孔尺寸开孔尺寸色温色温匹配电器匹配电器光通量光通量lmlm替换光源替换光源cea1095a52w6095mm3000kce6367018w荧光筒灯cea1125a82w80125mmce831172218w荧光筒灯cea1150a112w60150mmce1231762226w荧光筒灯cea1200a182w50200mmcecc140012869120wpar38卤素光源面光源规格参数面光源规格参数19ledled酒店筒灯酒店筒灯面光源面光源产品特点产品特点20产品特点产品特点a系列酒店可实现色温变换
会议室音响灯光系统设计方案
设计思想
功能性和艺术性相结合
从实际需求出发，技术手段要具有先进性，但必须成熟。完成的系统 必须具有完善的功能，而且具有完美的工艺水平，使功能性与观赏性能 与会议室的装修完美的结合一起。
开放性和可靠性相统一
系统具有可扩展性，兼容流行技术趋势，易于和现有网络系统和 Internet连接。基础结构能够与多种数据通信媒介接口，支持多媒体技术， 以适应未来技术的发展，不断提供增值服务。尽量选用主流的工业产品 以降低开发和应用过程中的风险，优选实力雄厚的先进厂商的名牌产品， 以求长远的用户支持。
会议类扩声系统声学特性指标
依据国家 《厅堂扩声系统设计规范》GB50371-2006 会议类扩声系统声学特性指标一级指标 的要求。 中华人民共和国文化部GYJ125《厅堂扩声系统设计的声学特性指标标准》，语言和音 乐兼用扩声系统一级进行综合分析设计。 按根据业主委员会的投标文件要求及设计图纸按以下 概念设计本扩声系统：
会议室平面示意图
系统设备连接拓扑图
设备选型及设备说明
音响系统
名称
调音台单价
总价
反馈抑制器 均衡器
高性能全频扬 声器 二分频辅助扬 声器 主功放功率放 大器 辅助功放 双手持U段无 线话筒 鹅颈会议话筒 机柜
台 台
只 只 台 台 套 只 只
1 1
2 2 1 1 1 4 1
设备选型及设备说明
等 级 最大声压级 （dB） 传声增益 （dB） 系统 稳态声场不 早后期声能比 总噪 均匀度（dB） （可选项）（dB） 声级
传输频率特性
一 级
额定通带内：大 于或等于98dB
以125-4000Hz的平均声压 500-2000Hz内1/1 级为0dB，在此频带内允 125-4000Hz的 1000Hz、4000 倍频带分析的平 NR-20 许范围：-6dB—+4dB； 平均值大于或 Hz小于或等于 均值大于或等于 +8dB 63-125Hz和4000-8000Hz 等于-10dB +3dB 的允许范围见图1
传授技艺情况范文
传授技艺情况范文传统美术教学只重视某知识与技能的传授，把学习仅仅局限在书本上，课改后初中美术课更重视的是激发学生的创新精神和培养学生的实践能力,积极为学生创设好的学习环境，通过多种形式的活动，引导学生在美术创作活动中，创造某地运用美术语言；鼓励学生在欣赏活动中，开展探究某的学习，发表自己独特的见解.1、美术学习要从单纯的技能、技巧学习层面提高到美术文化学习的层面，中学美术教学反思。
美术教学要创设一定的文化情境，增加文化内涵,使学生通过美术学习，加深对文化和历史的认识，加深对艺术的社会作用的认识，树立正确的文化价值观，涵养人文精神。
例如：我校学生在制作楼道内的装饰作品时，学生们学习到利用毛线材料，如何制作完成具有国画特点和抽象画特点的作品。
我还让学生制作以童话寓言故事为内容的作品，并把寓意告诉学生，让学生在欣赏作品的同时，并感受到作品的教育意义。
这就让学生在制作作品的同时，也受到情感教育。
2.加强教学中师生的双边关系。
通常在上课快要结束时，我会抽出几分钟时间，让学生来谈自己在这堂课上的收获；提出自己不满意的地方；也可以讨论下一堂课怎么上；自己做哪些准备工作，给学生介入教学设计的机会。
师生间交流对教学的想法，学生会觉得老师的备课中有自己的思路，带着“这是我的课”的想法，更积极的参与到课堂教学中来，教尊敬的各位长辈、亲戚朋友们：朔风哀鸣，天地含悲。
非常感谢众位亲朋在这寒冬腊月之时前来参加我敬爱的祖父的葬礼。
在这个令人肝肠寸断的时刻，我受大爹、二爹、父亲以及两位姑姑的沉重嘱托站在这里代表大爹闫保即祖父长子哀致悼词，以表达他们对父亲的沉痛悼念。
慈祥善良的父亲海珠大人因患癌症，多方医治无效，不幸于 20某某年1月23日暨农历己丑年腊月初九15时25分在家与世长辞，享年73岁。
父亲带着对儿女亲情的无限牵挂，带着对我们故土乡邻的深切留念永远地离开了我们。
天有不测风云，父亲自20某某年一病不起至今已过去整整十年。
(081300)建筑学(学术学位)
1. 复试笔试统一为传热学与工程热力学综合； 2. 热能工程和工程热物理方向复试口试为工程热力学、流体力学、传热学综合知识以及 热工测量技术及仪表； 3. 制冷及低温工程方向复试口试为制冷技术、热工学与热工测量技术及仪表。
学习和就业方式 全日制非定向就业
备注
不接收同等学力考生。
招生院系
（030）机械与能源工程学院
学习和就业方式 全日制非定向就业
备注
不接收同等学力考生。
招生院系
（010）建筑与城市规划学院
学科专业代码及名称
（083300）城乡规划学（学术学位）
研究方向
01 城乡人居环境可持续发展 02 城乡规划理论和规划管理 03 城乡规划方法和技术 04 区域和城市空间发展
05 城市开发控制和城市设计 06 城乡社区发展和住房建设 07 城乡交通和基础设施 08 城乡发展历史和遗产保护
科目 2 (201)英语一 初试
科目 3 (301)数学一
科目 4 (808)材料力学与结构力学
复试内容
1.岩土工程方向：土力学（笔试）,基础工程、土力学（口试） 2.结构工程方向：混凝土结构与钢结构 3.防灾减灾工程及防护工程方向：任选一（1）混凝土结构与钢结构 ,（2）振动力学基础 4.桥梁与隧道工程方向：桥梁工程综合考试 5.土木工程施工方向：土木工程施工 6.结构风工程方向：力学 7.隧道及地下建筑工程方向：地下建筑结构 8.土木工程信息技术方向：任选一：（1）程序设计,（2）混凝土结构与钢结构
科目 1 (101)思想政治理论
科目 2 (201)英语一、(202)俄语、(203)日语、(242)德语、(241)法语任选一门
科目 3 (356)城市规划基础
初试 科目 4
山东省高等学校实验教学示范中心申报书
姓名
潘鲁生
性别
男
出生年月
1962年11月
民族
汉
专业技术 职务
教授
学位
博士
毕业院校
南京艺术学院
通讯地址
济南长清区大学路山东工艺美术学院
邮 编
250300
电子邮箱
/
联系电话
主要职责
1、制定符合自身发展规律的教学理念和改革思路，明确教学定位和人才培养目标，统筹协调理论教学与实验教学。
2、设计制定具有自身特色的实践教学体系，改革创新教学内容。
1995年，获全国高等学校人文社会科学研究优秀成果二等奖。
1992年，1994年，分别两次获山东省社会科学优秀成果三等奖 。
专职人员
正高级
副高级
中级
其它
博士
硕士
学士
其它
总人数
平均 年龄
人数
13
11
13
4
10
18
12
1
41
35
占总人数比例
32%
27%
32%
10%
24%
44%
29%
2%
教学简况
实验课程数
2011.10
上海世博会山东馆整体设计、搭建及运营获山东省人民政府泰山文艺奖特别奖。
2011.10
油画作品：《晨歌》获山东省泰山文艺奖一等奖。
2011.10
纪实摄影作品：《生命的敬畏》（组照）获山东省泰山文艺奖二等奖。
2011.10
艺术设计：《山东国际大众艺术节会徽》获山东省泰山文艺奖三等奖。
2011.10
（1）初创阶段：1995-2002年，成立电脑平面设计工作室、服装设计工作室、雕塑工作室、产品造型工作室等。
建筑分析矶崎新琉森音乐节新方舟音乐厅
建筑分析矶崎新琉森音乐节新方舟音乐厅项目介绍本文档简要介绍建筑分析___音乐节新音乐厅项目。
本文将讨论建筑分析___音乐节新音乐厅的建筑设计特点和创新之处。
该音乐厅的建筑设计充分考虑了音乐表演的需求和观众体验。
以下是该音乐厅的特点和创新之处：音效设计：该音乐厅采用了先进的声学技术，以确保音乐的传播和观众听觉体验的最佳效果。
在建筑设计中，考虑到音乐的各种频率和音量，以提供高质量的音效环境。
音效设计：该音乐厅采用了先进的声学技术，以确保音乐的传播和观众听觉体验的最佳效果。
在建筑设计中，考虑到音乐的各种频率和音量，以提供高质量的音效环境。
舞台设计：该音乐厅的舞台设计灵活多变，能够适应不同类型的音乐表演。
舞台装置和机械系统可根据演出需求进行调整，使表演者和观众之间的互动更加紧密。
舞台设计：该音乐厅的舞台设计灵活多变，能够适应不同类型的音乐表演。
舞台装置和机械系统可根据演出需求进行调整，使表演者和观众之间的互动更加紧密。
舞台设计：该音乐厅的舞台设计灵活多变，能够适应不同类型的音乐表演。
舞台装置和机械系统可根据演出需求进行调整，使表演者和观众之间的互动更加紧密。
舞台设计：该音乐厅的舞台设计灵活多变，能够适应不同类型的音乐表演。
舞台装置和机械系统可根据演出需求进行调整，使表演者和观众之间的互动更加紧密。
空间布局：音乐厅的座位布局以观众的视野和听觉体验为重点进行设计。
采用了多层次的座位设置，使观众能够坐得更近，更容易欣赏到音乐表演细节。
空间布局：音乐厅的座位布局以观众的视野和听觉体验为重点进行设计。
采用了多层次的座位设置，使观众能够坐得更近，更容易欣赏到音乐表演细节。
空间布局：音乐厅的座位布局以观众的视野和听觉体验为重点进行设计。
采用了多层次的座位设置，使观众能够坐得更近，更容易欣赏到音乐表演细节。
空间布局：音乐厅的座位布局以观众的视野和听觉体验为重点进行设计。
采用了多层次的座位设置，使观众能够坐得更近，更容易欣赏到音乐表演细节。
BTEC 级别 1 2 初级 在执行艺术领域单位 1 个人秀(20512E)说明书
Examiners’ Report/ Lead Examiner Feedback Summer 2017BTEC Level 1/Level 2 Firsts in Performing ArtsUnit 1: Individual Showcase (20512E)Edexcel and BTEC QualificationsEdexcel and BTEC qualifications come from Pearson, the world’s leading learning company. We provide a wide range of qualifications including academic, vocational, occupational and specific programmes for employers. For further information visit our qualifications websites at or for our BTEC qualifications.Alternatively, you can get in touch with us using the details on our contact us page at /contactus.If you have any subject specific questions about this specification that require the help of a subject specialist, you can speak directly to the subject team at Pearson.Their contact details can be found on this link: /teachingservices.You can also use our online Ask the Expert service at /ask. You will need an Edexcel username and password to access this service.Pearson: helping people progress, everywhereOur aim is to help everyone progress in their lives through education. We believe in every kind of learning, for all kinds of people, wherever they are in the world. We’ve been involved in education for over 150 years, and by working across 70 countries, in 100 languages, we have built an international reputation for our commitment to high standards and raising achievement through innovation in education. Find out more about how we can help you and your learners at: /ukJune 2017Publications Code 20512E_1706_ERAll the material in this publication is copyright© Pearson Education Ltd 2017Grade BoundariesWhat is a grade boundary?A grade boundary is where we set the level of achievement required to obtain a certain grade for the externally assessed unit. We set grade boundaries for each grade, Distinction, Merit and Pass.Setting grade boundariesWhen we set grade boundaries, we look at the performance of every learner who took the external assessment. When we can see the full picture of performance, our experts are then able to decide where best to place the grade boundaries – this means that they decide what the lowest possible mark should be for a particular grade.When our experts set the grade boundaries, they make sure that learners receive grades which reflect their ability. Awarding grade boundaries is conducted to ensure learners achieve the grade they deserve to achieve, irrespective of variation in the external assessment.Variations in external assessmentsEach external assessment we set asks different questions and may assess different parts of the unit content outlined in the specification. It would be unfair to learners if we set the same grade boundaries for each test, because then it would not take into account that a test might be slightly easier or more difficult than any other.Grade boundaries for this, and all other papers, are on the website via this link:/iwantto/Pages/grade-boundaries.aspxIndividual Showcase (20512E)Grade Unclassified L1 P M D Boundary Mark 010 18 26 35IntroductionThis Level 2 externally assessed unit is intended to be summative; in that it allows learners to showcase the skills they have developed on their BTEC Performing Arts course.This assessment requires learners to respond to one of four progression opportunities; Production, Performance, Community or Education. The paper is set every year and published at the start of the academic year in September, prior to the submission deadline in May.The four progression opportunities are written in the form of adverts for employment or further study in the performing arts. Learners are required to submit a letter of application as well as a recording of the relevant practical performance work and/or presentation.Centres must ensure that learners read and understand the whole of the progression opportunity and the relevant guidance and requirements. There is full guidance published with every progression opportunity and this must be read, along with the advert itself.The response to the selected progression opportunity should be approached with an appreciation of the vocational role and as much as possible within a performing arts industry context.Learners should be fully prepared for their individual response; the work should be fully rehearsed. In preparation, learners should consider aspects such as warming up, learning lines or moves and preparing equipment and presentations.Published texts, scores and other people’s choreography can all be used by learners as sources for their performances or presentations as appropriate.The letter gives the opportunity for learners to explain their creative intentions and provides a context for the performance work to be watched. The letter should also introduce the learner’s practical work, providing the opportunity to clarify their choice of material and how it meets the demands and requirements of the selected progression opportunity.In the letter, learners are assessed on their understanding of their chosen progression opportunity and their ability to communicate using appropriate structure, language and tone.Practical work is marked according to its technical ability and how well it meets the requirements of the chosen progression opportunity and communicates the learner’s creative intentions as identified in the letter.Introduction to the Overall Performance of the UnitThe letter of application is an opportunity to express a full understanding of the progression opportunity which may include theme, target audience and the creative intentions of a company, event or production and the skills and techniques that are being asked for in order to make a successful application.The letters this series showed an overall improvement on previous years. Most letters contained relevant information and most learners demonstrated a level of appreciation of the progression opportunity they were applying for.Learner responses to all progression opportunities were wide-ranging, from very limited responses to ones that were thoughtful, fully considered and presented fully developed skills and creativity.Timings and other requirements were mostly observed. The most successful responses tended to be when the full requirements of the progression opportunity were being considered.Individual QuestionsSet TaskLetters of ApplicationMost learners included relevant information about their knowledge, skills and experience and some went on to relate the skills they had developed to the chosen progression opportunity. Some learners simply listed previous experience or gave a course overview without specific reference to the particular requirements of the progression opportunity. Responses that gained fewer marks included information about skills and experience that was irrelevant to the progression opportunity. Most learners made some reference to the work they were going to perform and/or present and outlined how the work responded to the progression opportunity. However, this series saw many letters where the details related to the plot or narrative of the work being performed, rather than how the work related to their skills and the requirements of the selected progression opportunity. For example,in responses to progression opportunity 4 some letters included limited information about applicants’ enthusiasm for the performing arts, their relevant skillset and potential, or how their pieces were going to communicate the theme or how they showed contrast.The most successful letters responded to all aspects of the progression opportunity and made clear links between learners’ own skills with what they were going to bring, to both the audition/presentation, and the progression opportunity they were applying for.This series saw many letters where there was a rigid centre-led approach, with learners seeming to write to a pre-coached writing frame. This approach tended to limit the access to the full range of marks available, as learners personal understanding was often less clear and the letters less focused on the specifics of the progression opportunity and their individual choices in relation toaudition/presentation content. The set framework often appeared to support a weaker learner but also possibly prevented a more able learner and in some cases the letters were very similar and did not give learners the opportunity to express individual understanding or ideas.The use of grammar and language again this series varied greatly across the cohort. Many students wrote clearly and accurately whilst others struggled with punctuation, spelling and wording.Overall the structure, tone and language used was appropriate, ranging from limited and unclear, to well-defined and effective responses. In responses that achieved high marks learners confidently and accurately used vocational terms,whereas the tone and language used was sometimes inappropriate in responses that gained fewer marks. Where learners used bullet points and lists this was not appropriate for the letter format.In some cases, we saw letters that were more like extended pieces of coursework and centres are reminded that although there is not a word limit as such, we are looking for work that represents a letter of application.Practical workProgression opportunity 1 - ProductionThe responses to this progression opportunity ranged from relevant and appropriate to limited and general. The more successful responses demonstrated good technical expertise where learners were applying skills, knowledge and experience in a well-prepared and appropriate technical setting.The strongest responses also corresponded closely to the focus of the progression opportunity. Presentations were mostly of the correct length (8–10 minutes). Less successful responses included very basic demonstrations of using lighting or sound equipment but made no or limited links to the progression opportunity.Most centres were able to provide a sense of occasion, and a supportive and professional environment for the presentation and demonstration to be recorded. However, in some cases learners were filmed where the content of their presentations on a screen could not be seen.Progression opportunity 2 - PerformanceMost learners made some connections to the particular aspects of the progression opportunity and performed two appropriate pieces. Most learners demonstrated an understanding of the type of performance that might be appropriate for the progression opportunity and had considered the choice of their material carefully. For some, there was a real attempt to perform a speciality act e.g., baton twirling, magic tricks, playing a ukulele and a routine to Let It Go on roller-skates.Less successful responses were where the link to holiday entertainment was limited, for example not meeting the requirement for the monologue to be a comedy act. Some learners who performed a monologue chose rather heavy and unsuitable material for the holiday setting as required by the progression opportunity.In some cases, centres misinterpreted the scenario and created work around the theme of holidays as opposed to applying to be a holiday entertainer.In the more successful responses, we saw work of a very high standard of technical ability that was an imaginative and carefully considered, fully appropriate responseto the progression opportunity.Progression opportunity 3 - CommunityLearners generally followed performance pathways for both sections and understood the requirement to offer ideas for practical workshop activities in the presentation.Responses that engaged with the theme, target audience and setting for the work, overall gave better and more coherent responses to this progression opportunity. Performances and presentations that overtly and consistently linked to the theme tended to achieve higher marks because the work corresponded more closely with the demands of the progression opportunity. The requirement for the connection between literacy and primary schools appeared to inspire learners to develop suitable material for the workshop and audition and there were some good presentations which had thoughtful ideas about the production of workshops for children.Again this series, presentation skills ranged from being well-prepared, confident and clear to unprepared readings from notes or the screen. The performance work was mostly suitable for the primary school or nursery setting and linked in some way to the workshop ideas.Unfortunately, in a very small number of centres, we saw responses where no recording of the presentation was included, just a copy of PowerPoint slides. This was limiting for learners in terms of them accessing the full range of marks available.In a very small number of centres, some of the pieces for ‘Write On’ were wholly unsuitable for the target age range as they included adult themes, which demonstrated a lack of understanding of the progression opportunity.Progression opportunity 4 - EducationAgain this series, this was the most popular progression opportunity and dance followed by acting was the most popular pathway.There were some very engaging performance auditions seen this series with the theme inspiring some imaginative choices of performance material. There were less very weak pieces seen than in previous years and learners demonstrated a significant amount of skill. In some less successful responses the theme was not considered and only a very tenuous link was made. Learners who had clearly explored and investigated the theme of ‘Portent’ in practical workshops and classes before selecting or creating material mostly produced successful responses. There was not always sufficient contrast in the performance pieces for PO4, particularly where the same playwright or style of work had been used for bothpieces, and it should be noted that this is a key requirement for this progression opportunity.In a couple of centres the camera was set up to capture just the head and shoulders of learners in acting auditions. The ‘whole’ audition should be seen and filmed from a fixed point.We saw fewer learners that did not respond appropriately to the demands of the musical theatre pathway, with the majority offering a dance sequence as part of one of their audition pieces. For the music performance pathway, however, we again saw some learners being accompanied by other musicians which was not always necessary or appropriate.Dance responses included some very proficient and impressive technical work. Where teacher choreography was performed it was often fit for purpose and supported learners. However, where learners had the opportunity to add individual motifs or sequences it gave them more possibility to develop the work and make it their own.Again we saw some auditions where learners had not learnt their lines and were reliant on prompts or gave up before the end of the performance. In some cases, learners appeared to be reading their lines from a screen or page situated behind the camera, which is unacceptable.AdministrationIt is pleasing to say that most centres again presented the work as required. However, issues again this series included the poor organisation of the work on the recordings by a small number of centres. Centres should fully adhere to the demands of both the progression opportunity, and the requirements as detailed in the Administrative Support Guide.Centres are reminded that work must be submitted by the deadline to the examiner in the correct format in terms of recordings and pdf files. Each learner’s work must be presented in its own folder, along with others in the cohort, on DVD or memory stick that will play on any commonly used laptop.Centres are reminded that learner work, including auditions, presentations and letters are assessed as a whole, so must be submitted together as such, in a single folder for each learner.Centres are also reminded that they must complete the essential documents relating to each learner, and the centre itself as these are required by the examiner for marking and centre/learner identification.This series, recordings were generally of a good quality, however, in some cases the quality of sound was poor and in some cases the level of lighting, especially in black box spaces made it difficult to see the learners.Where centres provided a quiet and appropriate space for theauditions/presentations to be recorded, this better supported the learners.It should be noted that learners as individuals must present work submitted for this unit and it is not acceptable to submit pair work/duologues or group work. Centre Registers did not always explicitly include learners who had been withdrawn or were absent. It would be helpful if they did. In some centres candidate numbers rather than BTEC registration numbers were used on the paperwork.SummaryBased on the responses seen this series, the following should be noted: •The centre must ensure the progression opportunities for the correct year are being responded to, and learners are not responding to past papers.•Centres should ensure that learners read and respond to the whole of the chosen progression opportunity including the relevant guidance, writtenbelow each advertisement.•Learners should produce a clear and informative letter of application, telling the reader about their skills, knowledge and understanding that isappropriate to the specific requirements and demands of the chosenprogression opportunity.•Learners should use their letter of application to explain their choice of audition pieces and/or introduce the content of their presentations and give clear creative intentions so work can be viewed in context.•Learners should not include actual personal contact details, such as personal email addresses and telephone numbers. If they wish to use this in theirletters, then general centre details can be given.•Centres should ensure learners have an appropriate space available for their auditions/presentations.•Learners offering presentations should practice their presentation skills to ensure that material is presented effectively and with clarity and confidence.•Learners should fully prepare their audition pieces learning choreography, lines, lyrics etc. in order to perform with confidence and to the best of theirability.•It is not acceptable to place a ‘prompt’ outside of the view of the camera. The recording should capture the work, as it would be seen in an audition setting.For more information on Edexcel qualifications, please visit /qualsPearson Education Limited. Registered company number 872828with its registered office at Edinburgh Gate, Harlow, Essex CM20 2JE。
康索现代艺术中心
公建分析——康索现代艺术中心康索现代艺术中心位于荷兰鹿特丹。
鹿特丹是荷兰第二大城市，世界最大的港口，位于欧洲莱茵河与马斯河汇合处。
整座城市展布在马斯河两岸，距北海约25公里，有新水道与北海相连。
鹿特丹是是莱茵河的入海口，最早是从沼泽地搭建港口发展起来的。
荷兰地势非常平坦，仅在东部和南部有几座山丘。
在荷兰的西部和北部，许多区域低于海平面，其面积约占全荷兰总面积的四分之一。
鹿特丹地势也十分平坦，位于荷兰低地区，低于海平面1米左右。
康索现代艺术中心是一个复杂的展览中心，约25年举办一次展览。
提出的Kunsthal文化在这个词的最广泛的意义：古老的艺术，新艺术，设计，时装，摄影- 从精英到大众。
这就造成了一个令人兴奋的，不断变化的展览剧目。
已经有达芬奇，唐老鸭，海牙学校节目，埃舍尔，主人伪造韩面包车Meegeren，前卫艺术，从中国，印度城市发展，汽车在荷兰，儿童来自世界各地的家具设计和19世纪的猫画像。
康索现代艺术中心的设计背景：在荷兰城市建设越来越理性的发展趋势的背景之下,刚刚成立OMA 事务所的雷姆·库哈斯(RemKoolhaas)有机会主持了鹿特丹很有影响的一个称为博物馆公园(Museum Park)的项目,项目包括了建筑学博物馆(ArchitectureMuseum) ,博物馆公园(Muse2um Park)以及当代艺术中心(Kunsthal)三个部分。
项目选址在一大片空置的土地之上,包括一个名为建筑学博物馆(ArchitectureMuseum)的建筑,一个计划用于展览的新建筑(Kunsthal) ,即当代艺术中心,一个公园,项目本身还包括了场地现存的另外一个博物馆(Boy2mans2van BeuningenMuseum) 。
所以怎样与周围环境整体结合十分关键。
康索现代艺术中心要求三个主要展览空间- 将共同或单独使用，礼堂和一个独立的餐厅。
南缘接壤的一个‘高速公路上堤顶部。
是北面的水平较低，面临的博物馆公园- 传统的思考。
苏州佳易朗照明设备有限公司介绍企业发展分析报告模板
Enterprise Development专业品质权威Analysis Report企业发展分析报告苏州佳易朗照明设备有限公司免责声明:本报告通过对该企业公开数据进行分析生成，并不完全代表我方对该企业的意见，如有错误请及时联系;本报告出于对企业发展研究目的产生，仅供参考，在任何情况下，使用本报告所引起的一切后果，我方不承担任何责任:本报告不得用于一切商业用途，如需引用或合作，请与我方联系:苏州佳易朗照明设备有限公司1企业发展分析结果1.1 企业发展指数得分企业发展指数得分苏州佳易朗照明设备有限公司综合得分说明：企业发展指数根据企业规模、企业创新、企业风险、企业活力四个维度对企业发展情况进行评价。
该企业的综合评价得分需要您得到该公司授权后，我们将协助您分析给出。
1.2 企业画像类别内容行业空资质增值税一般纳税人产品服务装、维修：照明器材。
（依法须经批准的项目，1.3 发展历程2工商2.1工商信息2.2工商变更2.3股东结构2.4主要人员2.5分支机构2.6对外投资2.7企业年报2.8股权出质2.9动产抵押2.10司法协助2.11清算2.12注销3投融资3.1融资历史3.2投资事件3.3核心团队3.4企业业务4企业信用4.1企业信用4.2行政许可-工商局4.3行政处罚-信用中国4.4行政处罚-工商局4.5税务评级4.6税务处罚4.7经营异常4.8经营异常-工商局4.9采购不良行为4.10产品抽查4.11产品抽查-工商局4.12欠税公告4.13环保处罚4.14被执行人5司法文书5.1法律诉讼（当事人）5.2法律诉讼（相关人）5.3开庭公告5.4被执行人5.5法院公告5.6破产暂无破产数据6企业资质6.1资质许可6.2人员资质6.3产品许可6.4特殊许可7知识产权7.1商标7.2专利7.3软件著作权7.4作品著作权7.5网站备案7.6应用APP7.7微信公众号8招标中标8.1政府招标8.2政府中标8.3央企招标8.4央企中标9标准9.1国家标准9.2行业标准9.3团体标准9.4地方标准10成果奖励10.1国家奖励10.2省部奖励10.3社会奖励10.4科技成果11土地11.1大块土地出让11.2出让公告11.3土地抵押11.4地块公示11.5大企业购地11.6土地出租11.7土地结果11.8土地转让12基金12.1国家自然基金12.2国家自然基金成果12.3国家社科基金13招聘13.1招聘信息感谢阅读:感谢您耐心地阅读这份企业调查分析报告。