【@marketfocus.hk 】【狙擊內房】房產業再成內地狙擊目標板塊全面瀉 據報內房買地金額不得超年度銷售額40%
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內地近期加緊整頓房地產行業，成為新的狙擊目標，其中，內地媒體周一（7月26日）報道，內地監管部門規管內房企業買地金額，不得超過年度銷售額40%。
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內地媒體周一引述知情人...
【@marketfocus.hk 】【狙擊內房】房產業再成內地狙擊目標板塊全面瀉 據報內房買地金額不得超年度銷售額40%
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內地近期加緊整頓房地產行業，成為新的狙擊目標，其中，內地媒體周一（7月26日）報道，內地監管部門規管內房企業買地金額，不得超過年度銷售額40%。
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內地媒體周一引述知情人士透露指，據報被納入「三道紅線」試點的數十家重點房地產企業，已被監管部門要求，其買地金額不得超過年度銷售額的40%。報道稱，當中的比例不但包括內房企業在公開市場取得土地的支出，亦包括通過併購獲得土地的支出。據了解，今年6月底，人民銀行等監管部門已經出手，把「三道紅線」試點房企的商票數據納入其監控範圍，要求房企將商票數據隨「三道紅線」監測數據每月上報，但據知情人士透露，目前商票數據暫未被納入「三道紅線」計算指標，不排除未來被納入計算的可能性，一旦商票數據日後被納入重難「三道紅線」指標中的有息負債指標計算，未來房企降負債壓力將進一步加大。據了解，2020年8月內地監管部門為控制房地産企業有息負債規模，對重點房企按「紅、橙、黃、綠」四檔管理，並設置了「三道紅線」，具體為剔除預收款後的資産負債率大於70%、淨負債率大於100%，以及現金短債比小於1倍，而且試點房企須在2023年6月30日前完成降負債目標
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此外，住建部及發改委等8部門發布《關於持續整治規範房地產市場秩序的通知》，列出房地產開發、買賣、租賃及物業服務4方面的整治重點，強調持續加大懲處力度，包括對逾期不能償還債務、大規模延期交樓及負面輿情較多等重大經營風險企業實施重點監管，目標用3年左右時間，達致樓市秩序明顯好轉。文件指出，要持續開展整治規範房地產市場秩序工作，其中房地產開發的整治重點，涵蓋開發企業違法違規開工建設；未按施工圖設計文件開發建設；未依照房屋買賣合同約定如期交付；房屋滲漏、開裂、空鼓等明顯質量問題；未跟完整居住社區建設標準建設配套設施。房屋買賣方面，整治重點包括：發布虛假違法房地產廣告、虛假房源訊息；捂盤惜售，囤積房源；挪用交易監管資金；套取或協助套取「經營貸」、「消費貸」等非個人住房貸款用於置業；協助置業者非法規避房屋交易稅費；違規收取預付款、「茶水費」等費用變相加價；利用不公平格式條款侵害消費者權益；綑綁銷售車位、儲藏室；捏造、散布不實訊息，擾亂市場秩序。至於整治住房租賃問題，內容覆蓋未提交開業報告便開展經營；未按規定如實完整報送相關租賃訊息；剋扣租金押金；採取暴力、威脅等手段強制驅趕租戶；未按規定辦理租金監管等。對於物業服務，要整治未按照物業服務合同約定內容及標準提供服務；未按規定公示物業服務收費項目標準、業主共有部分的經營與收益情況、維修資金使用情況等相關訊息。
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廣東省住房政策研究中心研究員李宇嘉表示，對樓市進行市場整治和巡查，過去一直都有，比如2019年住建部等6部門聯合開展住房租賃中介機構亂象專項整治工作，此次從源頭上規範房地產市場秩序，整治是八部門聯手，而且是從上到下的監管，力度大、範圍廣、覆蓋全，並在多部門聯合下推進。
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業內人士表示，由於早年中國恒大（3333）出現「每月有地買」的情況，最終當遇到經濟情況稍有差池時，便出現資金鏈斷層問題，最後更需要中央出手解困，而有關措施正時未雨綢繆，以防止有關情況惡化，以及杜絕同類事件再次發生，但這也限制了內房企業的盈利能力，以及憂慮調控措施陸續有來。
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一眾內房股周一全面下跌，其中，合景泰富 （01813） 收市跌8.7%，曾創52周新低；近期受負面消息困擾的恒大 （03333） 再跌7.5%；時代中國 （01233） 跌近6.9%；萬科 （02202）及綠成中國 （03900）跌近7.1%。
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另一方面，物管股周一也全線重挫，住建部等8部門上周發布有關整頓房地產行業聲明，當中提及針對物管行業整改一些不良行業及習慣。摩根士丹利周一把物管行業評級由「吸引」下調至「與市場同步」，認為行業短線缺乏催化劑，而內房去槓桿及流動性問題繼續影響投資者情緒。
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大摩指出，中央繼續要求內房股去槓桿，部分內房發展商出現流動性問題，投資者憂慮發展商的財政狀況，而持續的去槓桿將會影響發展商買地能力及增長前景，間接令物管公司的在管總建築面積增長面臨下行壓力，預期2021至2023年物管行業來自母公司的在管總建築面積增長27%至30%，而母公司的合約銷售總建築面積則升5%，認為如果是合約銷售增幅由5%降至0%，將會令物管股的總建築面積增幅減少1至2個百分點，影響雖不大，但會對行業情緒構成負面影響。
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一眾物管股周一全面下跌，當中世茂服務 （00873） 收市瀉近兩成、金科服務 （09666）瀉18% 、碧桂園服務 （06098）跌近17% 、合景悠活 （03913）跌近16% 、華潤萬象生活 （01209）及融創服務 （01516）挫14% 、越秀服務（06626）跌逾13% 、時代鄰里 （09928） 跌11%。
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Text by Business Focus Editorial
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editorial格式 在 PChan English Facebook 的最佳貼文
Final tips for Paper 3 Listening and Integrated Skills
Part A
善用Preparation time. 透過context包括instructions , headings, bullet points 估計可能的 answers. 一定要留意以下的grammatical constraints:
1) article(a/an/ the)
2)quantifiers( many / much /few / little...)
3)that clause ( the fact that svo/ the myth that svo) ( 2015 task 4)
從上述各項可決定答案應是a singular noun phrase or noun phrase or a clause. Grammar 錯了，忘記pluralize the answers 必定失分. Eg Our parents/ subjects(2012). 相反，a browser 不可加's'（2012）
Sentence completion 題一定要留意parts of speech. 很多時要轉詞性. 留意句字context.有時甚至須要轉字。eg they decided they needed a singer= they made a decision to find a singer. （2015 task 3). 填need 一定冇分!
如果answers 涉及深字。下句或下兩句必定用淺字解䆁,take 淺字便可. Speaker's attitude字眼通常不㑹直接出現於原文.
善用tidy-up time. 要整句來看，確保所填answers make sense 及grammatically correct.
Part B
重㸃温習Tips class P Chan's mock paper( Overseas studies/ letter of adjustment/ businesslike email)( Kelly Ching of B-town)
Part B 很有機會出Feature Article,defensive letter, Editorial ,Proposal 及，businesslike email。
細閲這上述的5** samples.
Note-taking skills留意各項signals:
1) words for elaboration
2) words for clarification
3)words for confirmation
4) words asking for explanation
5) words implying another point
揾points 前一定要把MM和II一同看。確認所有instructions 才開始搵。毎個task會涉及3至4頁data file. 留意title 的synonyms.通常每個task content 部分可分三段寫。記住key words 要出現於topic sentence.要有恰當的introduction 及conclusion.一定要留register（行文風格）。留意the audience and genre( 體裁）便知要formal or less formal or informal style,或是否要用businesslike tone 等等。
熟讀各種文體formats(P12至23）其中 Proposal ,Editorial, Feature article 最重要。Defensive letter 留意direct/indirect reply. Programme review 留意5種order. Business like email 留意格式及語氣。每個task 必須要25minutes 内完成。
熟讀generalization skills P8( Last lesson ) 非常重要。重點留意quantity, frequency and probability. 細閲P Chan's mock paper 5** samples ( last lesson) 。表達時要留意3 Cs 技巧。加油！
Seize the day , make your life extraordinary!
💪💪💪🎓🎓🎓
P Chan
editorial格式 在 聶永真 Aaron Nieh Facebook 的最佳貼文
強中之強！
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攝影之聲19
#照片 #雕塑
#photo #sculpture
在這期《攝影之聲》中，日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」，將照片層層堆疊雕琢刻鏤，改造平面攝影為多元視點的立體圖像，顛覆照片設下的時空制約；荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片，締構一系列複合媒材影像雕塑，在型態轉化之中探索當代圖像訊息的變異組建；韓國藝術家權五祥拍下大量的實物細節，將照片拼貼雕砌成各種人形塑像與物件結構，超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元，我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太，藉由他自由裂解增生的數位塗抹（digital smudge）軌跡，在介入、破壞與影像噪音化的各種實驗中，將傳統攝影的物質與機械性建制重新格式化，跌進影像生成狀態的混元世界，突顯了視覺技術的思維後像。或許激浪派（Fluxus）的意識將再透過他的作品重返攝影的話題，並反映著這個世代的視線主張。
◑ GRAB YOUR COPY NOW!! ◑
Voices of Photography
Issue 19 : #照片 #雕塑 #photo #sculpture
在這期《攝影之聲》中，日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」，將照片層層堆疊雕琢刻鏤，改造平面攝影為多元視點的立體圖像，顛覆照片設下的時空制約；荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片，締構一系列複合媒材影像雕塑，在型態轉化之中探索當代圖像訊息的變異組建；韓國藝術家權五祥拍下大量的實物細節，將照片拼貼雕砌成各種人形塑像與物件結構，超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元，我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太，藉由他自由裂解增生的數位塗抹（digital smudge）軌跡，在介入、破壞與影像噪音化的各種實驗中，將傳統攝影的物質與機械性建制重新格式化，跌進影像生成狀態的混元世界，突顯了視覺技術的思維後像。或許激浪派（Fluxus）的意識將再透過他的作品重返攝影的話題，並反映著這個世代的視線主張。
專欄單元中，張世倫對類比底片粒子與數位像素的影像物質性進行思辨，闡述影像的不完美特性對攝影本質的啟示；顧錚評析中國藝術家蔡東東近期發表的攝影裝置系列——《泉》，在達達主義興起並影響至今的一百周年之際，檢視當代現成物藝術的實踐語彙；此外，從這期開始，我們更邀請香港攝影學者黎健強執筆一個新的連載專欄——「影像香港」，他以近年親身參與籌劃的攝影展覽歷程做為序論，並將陸續疏理香港的攝影史脈與當代影像地景，做為我們串連東亞攝影發展的另一切點。
在英國近期「脫歐」抉擇的歷史之年，也是愛爾蘭「脫英」武裝革命——1916年「復活節起義」——的一百周年，這場獨立行動雖告失敗，卻因最終催生了愛爾蘭共和國而成為歷史關鍵，今年在倫敦與都柏林皆有相關的紀念活動。梁秋虹在英、愛現場深度剖析這些歷史影像檔案的視覺展演，解讀革命符號與受難者影像中，攝影政治學幽微操作的記憶與神話。
「Q」單元專訪德國資深出版人Gerhard Steidl，他於1972年創立的「Steidl」以出版印工精緻的作品集聞名，並成為國際藝術出版界的指標之一，Steidl在訪談中與我們分享他的工作經驗，以及對紙本印刷工藝的觀察見解。本期附帶的別冊《SHOUT》則特別揭載中國藝術家孫彥初的《虛構集》系列，他自古玩市場蒐集中國上世紀七O至八O年代的素人生活照，以塗鴉拼貼重構造相，在影像的虛實映照之間轉動拉扯。
編輯台報告埋著頭寫著寫著，《攝影之聲》正式來到第五個周年，而我們仍在深入影像銀河悠悠無邊的光年裡緩緩推進。謝謝親愛的讀者、參與《攝影之聲》的藝術家、所有撰稿人和工作伙伴。這是一段長途旅行，我們將繼續往下一站前進。
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In this volume of VOP, we see how “Nerhol” the creative duo made up of Japanese designer Yoshihisa Tanaka and sculptor Ryuta Iida put together layers of photographs with sculpturing and engraving, changing 2D photography to 3D images with multiple points of view, challenging the time-space limits of photographs. Also, we will also learn about how Dutch artist Anouk Kruithof selected official photographs from the Instagram accounts of 81 American organizations to create a series of photo-sculptures using multiple media, through which she explores the changes and construction processes of contemporary image information. In addition, we will see how Korean artist Osang Gwon with his vast number of photographs of objects taken in detail, combines these images into sculptures of various characters and structures, crossing the visual and thought boundaries of 2D and 3D.
We present a special in this issue’s Artist Showcase on Kenta Cobayashi, a visual artist of the digital media age born in 1992. Through his creative journey using free expression with the digital smudge in Photoshop, he re-formalizes the materiality and mechanism of traditional photography, immersing himself in a state of flux when images were born and highlights the technicalities behind visual creations. His work seems to have an affinity with Fluxus bringing this art movement back into the photographic conversation through his various experiments of intervention, destruction and noise in images. The work also reflects the trend of viewing in this time and age.
In this issue’s columns, Shih-Lun Chang touches on the issue of materiality between the grains of film photography and the resolution of digital photography, illustrating the inspiration that can be brought to the nature of photography by the imperfection of images; Zheng Gu critiques Fountain, the recent photography installation work by Chinese artist Dongdong Cai, which examines the practical language of ready-made art in the centennial anniversary of Dadaism’s emergence and influence. In addition, starting from this issue, we invite renowned Hong Kong photography academic Dr. Edwin K. Lai to pen a new column “Image Hong Kong”. He begins with sharing his journey of curating and participating in photography exhibitions in recent years, and will subsequently go on to bring us through the historical lineage of Hong Kong’s photography and its contemporary landscape, providing us with a new link point with East Asian photography.
This year where we witness “Brexit” also coincides with the 100-year anniversary of the “Easter Rising” of 1916 associated with Ireland’s military revolution in a bid to perform a “Brexit”. Although this bid for independence met with failure, it continued to hold key meaning in history for its eventual result in birthing the Republic of Ireland. This year, commemorative activities were held in both London and Dublin. Chiu-Hung Liang brings us in-depth reports of the visual displays of historical archival images from the two locations, interpreting the revolutionary iconography involved and the intricate influences exerted by photography politics on the images of victims, their memories and legacies.
The “Q” segment features an interview with long-time publisher Gerhard Steidl who founded the publishing house “Steidl” in 1972, well-known for its high quality publications which marks it out as a landmark of the international artistic publication circle. Steidl shares his work experiences as well as observations and opinions about the craft of the print with us in this interview. Also, in this issue’s supplement SHOUT, we present a special excerpt of Chinese artist Yanchu Sun’s Ficciones, where he presents a series of photographs of the everyday life of ordinary people from antique markets in China between the 70s’ and 80s’, employing the means of drawing and collage to recreate images, playing on the relations between the real and the fictional.
With this editorial we write, VOP enters its fifth anniversary. As we continue our slow but sure journey forward in the universe of photography, we want to thank our dear readers, artists, writers and contributors as well as others who have worked with VOP, onward we move!
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Voices of Photography 攝影之聲
www.vopmagazine.com
editorial格式 在 VOP Facebook 的最佳貼文
◑ 新刊上架 !! ◑
Voices of Photography
Issue 19 : #照片 #雕塑 #photo #sculpture
▍購買雜誌 Order | http://goo.gl/Xecs3q
▍訂閱雜誌 Subscribe | http://goo.gl/ZE9gd0
在這期《攝影之聲》中，日本設計師田中義久與雕刻家飯田竜太所組成的雙人創作組合「Nerhol」，將照片層層堆疊雕琢刻鏤，改造平面攝影為多元視點的立體圖像，顛覆照片設下的時空制約；荷蘭藝術家Anouk Kruithof擷取81個美國機關組織的Instagram帳號所發布的官方照片，締構一系列複合媒材影像雕塑，在型態轉化之中探索當代圖像訊息的變異組建；韓國藝術家權五祥拍下大量的實物細節，將照片拼貼雕砌成各種人形塑像與物件結構，超越平面—立體形態之間的思索界線。
本期的Artist’s Showcase單元，我們特寫1992年出生的數位媒材原生世代——影像藝術家小林健太，藉由他自由裂解增生的數位塗抹（digital smudge）軌跡，在介入、破壞與影像噪音化的各種實驗中，將傳統攝影的物質與機械性建制重新格式化，跌進影像生成狀態的混元世界，突顯了視覺技術的思維後像。或許激浪派（Fluxus）的意識將再透過他的作品重返攝影的話題，並反映著這個世代的視線主張。
專欄單元中，張世倫對類比底片粒子與數位像素的影像物質性進行思辨，闡述影像的不完美特性對攝影本質的啟示；顧錚評析中國藝術家蔡東東近期發表的攝影裝置系列——《泉》，在達達主義興起並影響至今的一百周年之際，檢視當代現成物藝術的實踐語彙；此外，從這期開始，我們更邀請香港攝影學者黎健強執筆一個新的連載專欄——「影像香港」，他以近年親身參與籌劃的攝影展覽歷程做為序論，並將陸續疏理香港的攝影史脈與當代影像地景，做為我們串連東亞攝影發展的另一切點。
在英國近期「脫歐」抉擇的歷史之年，也是愛爾蘭「脫英」武裝革命——1916年「復活節起義」——的一百周年，這場獨立行動雖告失敗，卻因最終催生了愛爾蘭共和國而成為歷史關鍵，今年在倫敦與都柏林皆有相關的紀念活動。梁秋虹在英、愛現場深度剖析這些歷史影像檔案的視覺展演，解讀革命符號與受難者影像中，攝影政治學幽微操作的記憶與神話。
「Q」單元專訪德國資深出版人Gerhard Steidl，他於1972年創立的「Steidl」以出版印工精緻的作品集聞名，並成為國際藝術出版界的指標之一，Steidl在訪談中與我們分享他的工作經驗，以及對紙本印刷工藝的觀察見解。本期附帶的別冊《SHOUT》則特別揭載中國藝術家孫彥初的《虛構集》系列，他自古玩市場蒐集中國上世紀七O至八O年代的素人生活照，以塗鴉拼貼重構造相，在影像的虛實映照之間轉動拉扯。
編輯台報告埋著頭寫著寫著，《攝影之聲》正式來到第五個周年，而我們仍在深入影像銀河悠悠無邊的光年裡緩緩推進。謝謝親愛的讀者、參與《攝影之聲》的藝術家、所有撰稿人和工作伙伴。這是一段長途旅行，我們將繼續往下一站前進。
In this volume of VOP, we see how “Nerhol” the creative duo made up of Japanese designer Yoshihisa Tanaka and sculptor Ryuta Iida put together layers of photographs with sculpturing and engraving, changing 2D photography to 3D images with multiple points of view, challenging the time-space limits of photographs. Also, we will also learn about how Dutch artist Anouk Kruithof selected official photographs from the Instagram accounts of 81 American organizations to create a series of photo-sculptures using multiple media, through which she explores the changes and construction processes of contemporary image information. In addition, we will see how Korean artist Osang Gwon with his vast number of photographs of objects taken in detail, combines these images into sculptures of various characters and structures, crossing the visual and thought boundaries of 2D and 3D.
We present a special in this issue’s Artist Showcase on Kenta Cobayashi, a visual artist of the digital media age born in 1992. Through his creative journey using free expression with the digital smudge in Photoshop, he re-formalizes the materiality and mechanism of traditional photography, immersing himself in a state of flux when images were born and highlights the technicalities behind visual creations. His work seems to have an affinity with Fluxus bringing this art movement back into the photographic conversation through his various experiments of intervention, destruction and noise in images. The work also reflects the trend of viewing in this time and age.
In this issue’s columns, Shih-Lun Chang touches on the issue of materiality between the grains of film photography and the resolution of digital photography, illustrating the inspiration that can be brought to the nature of photography by the imperfection of images; Zheng Gu critiques Fountain, the recent photography installation work by Chinese artist Dongdong Cai, which examines the practical language of ready-made art in the centennial anniversary of Dadaism’s emergence and influence. In addition, starting from this issue, we invite renowned Hong Kong photography academic Dr. Edwin K. Lai to pen a new column “Image Hong Kong”. He begins with sharing his journey of curating and participating in photography exhibitions in recent years, and will subsequently go on to bring us through the historical lineage of Hong Kong’s photography and its contemporary landscape, providing us with a new link point with East Asian photography.
This year where we witness “Brexit” also coincides with the 100-year anniversary of the “Easter Rising” of 1916 associated with Ireland’s military revolution in a bid to perform a “Brexit”. Although this bid for independence met with failure, it continued to hold key meaning in history for its eventual result in birthing the Republic of Ireland. This year, commemorative activities were held in both London and Dublin. Chiu-Hung Liang brings us in-depth reports of the visual displays of historical archival images from the two locations, interpreting the revolutionary iconography involved and the intricate influences exerted by photography politics on the images of victims, their memories and legacies.
The “Q” segment features an interview with long-time publisher Gerhard Steidl who founded the publishing house “Steidl” in 1972, well-known for its high quality publications which marks it out as a landmark of the international artistic publication circle. Steidl shares his work experiences as well as observations and opinions about the craft of the print with us in this interview. Also, in this issue’s supplement SHOUT, we present a special excerpt of Chinese artist Yanchu Sun’s Ficciones, where he presents a series of photographs of the everyday life of ordinary people from antique markets in China between the 70s’ and 80s’, employing the means of drawing and collage to recreate images, playing on the relations between the real and the fictional.
With this editorial we write, VOP enters its fifth anniversary. As we continue our slow but sure journey forward in the universe of photography, we want to thank our dear readers, artists, writers and contributors as well as others who have worked with VOP, onward we move!
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Voices of Photography 攝影之聲
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