景区商铺租赁经营建议书 本文关键词：建议书，景区，商铺，租赁，经营
景区商铺租赁经营建议书 本文简介：景区商铺租赁经营建议书国内旅游业飞速发展，给景区内的商业带来无限的商机。国家旅游局的统计数字表明：仅2000年，共有8350万名外国游客到中国旅游，比前一年增加了17%。据世界贸易组织预测，到2020年底，我国将成为世界第一旅游大国。旅游综合体是围绕旅游服务这一核心功能，在景区内形成产业链而构成的旅
景区商铺租赁经营建议书 本文内容：
景区商铺租赁经营建议书
国内旅游业飞速发展，给景区内的商业带来无限的商机。国家旅游局的统计数字表明：仅2000年，共有8350万名外国游客到中国旅游，比前一年增加了17%。据世界贸易组织预测，到2020年底，我国将成为世界第一旅游大国。旅游综合体是围绕旅游服务这一核心功能，在景区内形成产业链而构成的旅游要素聚集区。在“大旅游观念”指导下，旅游综合体以“旅游吸引物”的概念取代了传统旅游中的“旅游资源观”。旅游除包含自然旅游及人文旅游外，任何可以对旅游者产生吸引力的有形、无形要素，均是旅游综合体可以依托的相应资源。
老龙头景区原有商铺经过提升改造后，将形成新的商业区——文化主题商街。文化主题商街的经营理念是：努力打造老龙头景区“品牌”形象，带动景区内商业蓬勃发展！景区内商业营运的规划原则应遵循：1、符合整个景区内战略定位的原则，集购物、娱乐、休闲、餐饮四大功能于一体，商品的布局必须从满足以上功能需求的角度出发；2、
适应不同商品经营业态格局的原则；3、
尊重市场需求和选择的原则，经营布局的规划必须为招商服务，最终格局取决于招商的结果；4、
合理有效使用空间的原则，首先做到商铺合理的空间分割；5、
经济效益原则，应充分考虑商户的经营利益，达成商户与公司经营者双赢的局面；6、
关联性原则，不同的商品适合不同的经营组合，如餐饮和娱乐休闲可形成互补、互促经营，服饰和日用超市可形成互补、互促经营等，这些关联性商品可在同一功能区经营；7、大客户和知名品牌优先原则，大客户和知名品牌对提升景区形象，带动中小商户的进驻，以及带动消费起着至关重要的作用，对这类客户要优先考虑；8、充分考虑经营户愿望和要求的原则，考虑了经营户愿望和要求，才能充分吸引经营户进驻，并提高经营户的经营激情，从而促进景区商业快速形成；9、方便游客消费的原则，商品布局及业态分布方面，体现了旅游和休闲的原则，先观光、后购物休闲、再去餐饮娱乐，符合游客消费的习惯；10、视觉形象原则，整个经营布局应充分考虑商品陈列的视觉冲击力和景区形象统一。
结合景区地理位置，公司以对外“租赁”模式招商，对公司招商工作有以下建议。
一、在对外招商工作开展前公司要做好充分的准备工作，首先对景区商铺要进行合理的分割。景区商铺分割的原则要考虑到以下因素：
（1）主题的原则
商铺的分割，必须遵循景区主题的原则。即结合商铺推广的主题功能来进行分割。经营项目的不同，对商铺分割有相应的要求。（景区商铺的经营项目以工艺品、小吃、冷饮等为主，结合经营商品的不同，100米内小型商铺建议比例分配可为5：3：2）
（2）人性化的原则
商铺的分割，必须遵循人性化的原则。也就是说，分割出的商铺要符合业主经营、使用的要求。分割出的道路，要符合消费者的购物习惯、购物心理和走路习惯。这句话包含两层意思：第一，所有人性化所要求的人流通路设计必须要有；第二，所有商铺经营项目位置的排序要服务游客最大化；这两点对于商铺的租赁工作有非常重要的意义。景区内部的步行系统设计也是调节和分配人流量的有效手段。
（3）科学利用的原则
商铺的分割，必须遵循科学利用的原则。即在满足消防要求的前提下，尽可能的充分利用有效空间面积。各商铺面积要分割合理，否则分割后将产生较多小商铺，对商铺销售和招商速度会有相对影响，零星尾盘商铺销售会有一定难度。
建议：根据上述分析，公司在招商前对已有商铺图纸进行各种区域划分的方案制定工作。（结合商铺经营的各种项目进行方案的制定）
二、在对商铺进行合理分割后，做好商铺招商目标的初步确定：先大户、后小户；先品牌商户、后一般商户的原则
1、第一目标主力店
第一目标主力店是公司招商工作的主体，该目标商户招商的成功与否，将从根本上决定商业街招商工作的成败。
第一目标主力店以具有地方特色工艺品（纪念品）为经营主体；
2、第二目标主力店
第二目标主力店是为提升文化主题商街人气，完善商品结构，促进景区由单一的纪念品消费向休闲旅游的过渡，使之成为游客消费中的主导。第二目标主力店以冷饮、小吃餐饮业等为主。
3、第三目标主力店
第三目标主力店是商业街“商业结构和服务机能”的完善。同时也是商业街的娱乐服务部分。第三目标主力店主要是各种大小型娱乐项目、娱乐设施、各种服装道具的提供、纪念快照等为主。
三、
招商团队的组建：
招商团队的组建是招商前的重要工作之一。首先是招商团队的规划：工作中涉及需要多少员工、各自负责什么，分工后的招商培训等等，成立专门的职能招商部门，从组织架构上予以重视和确立，招商工作完成后，招商部门自动转为销售部门或市场管理部门，同时计划专业人才的引进，高素质的招商营销团队，是公司招商成败的关键因素。商铺招商是一个系统工程，任何一个环节的疏落都会造成资源的浪费，导致招商效果不理想。有好的景区背景，没有好的商铺不行；企划做的再漂亮，缺乏到位的执行也不行；有好的方案，没有好的解读和培训也不行；广告气势再大，因为电话沟通技巧不够也会大打折扣。公司要考虑到：如何拟定招商方案、举办招商会？如何包装、策划商铺强有力的卖点进行宣传？如何拜访有意向的客户租赁公司的商铺等等问题。
四、招商宣传策略
对景区商铺的宣传包装既要体现商铺的服务功能，营造景区独特的购物环境，又要赋予商铺文化内涵，塑造景区独有的风情。
宣传推广招商工作的总原则：
1、景区建立浓厚的商业气氛，营造良好的招商氛围；
2、通过与媒体的有机配合，扩大景区商铺的知名度与美誉度；
3、强化突出商铺对投资者的利益点，强调投资的高回报性与安全性；4、抓住市场的有利时机策划系列的公关活动，吸引人气，搞活气氛，促进招商工作的开展；
阶段推广策略：
第一阶段：蓄势引爆
核心：招商的环境布置；宣传资料到位；招商人员到位
具体操作：尽早将招商信息发布，告知市场。势头要迅速猛烈。主要可选择的宣传方式有：电视广告、电台广告、互联网广告、报纸杂志广告、电话推销广告、DM广告、户外广告、其他广告等
第二阶段：重拳出击
核心：媒介综合运用；掀起浓烈的招商氛围
具体操作：随着招商工作的进展可举办“招商会”，邀请受大众喜爱的知名人士到场参与，邀请主流媒体记者到现场跟踪报道，将信息扩散，聚集人气提升招商会活动力度，增强投资者对商铺、对公司的信心
第三阶段：全面沸腾
核心：公关活动设计；媒介运用
具体操作：设置招商接待办公室对前来咨询的客户提供细致的咨询接待。以硬性的形象+主卖点系列版报广告，突出商铺投资者的高回报、高收利：可在景区夜间亮霓红灯，挂起招商工作的标志性灯笼，挑选适当部位设立明显的商铺未来经营景象导视图版。随着宣传的不断进行，招商工作已进展到一定程度，景区商铺“关注度”加大
第四阶段：全线入驻
核心：商家和品牌陆续入驻景区商铺，整体装修形象出台，景区商业气氛已近形成，对入驻的各知名商家进行大力的宣传，以增强投资者的信心
具体操作：公司给入驻的商户提供可行性装修建议，提供商铺相关服务，辅佐商铺快速进入营业准备期；广告的宣传以各商铺经营项目为中心，强势打造商铺开业前的品牌宣传推广
五、景区商铺的统一管理
“旅游安全”是旅游业的生命线，它不仅关系到旅游者的生命财产，而且还关系到景区的整体形象，是景区稳定运行的重要保障，是坚持“以人为本”安全理念的必然要求。
景区在做好“安全管理”工作的基础上，公司对商铺严格执行统一管理的原则，遵照国家各项法律法规、食品卫生管理条例等；结合公司制定的商铺经营管理规范、卫生管理规范、消防安全管理等条例，对商户的经营进行监督和检查。保证景区商户提供给游客最优质的服务，树立景区“新”形象，努力实现公司与商户双赢的良好局面，打造老龙头景区商业蓬勃繁荣的发展。
篇2：某广电IP城域网改造方案建议书
某广电IP城域网改造方案建议书 本文关键词：建议书，城域网，广电，改造，方案
某广电IP城域网改造方案建议书 本文简介：opinionabout,andstatementof,thetheme.Moralinferencesdrawnfrommoststories:Moralinferencesmaybedrawnfrommoststories,nodoubt,evenwhenanauthordoesnotinten
某广电IP城域网改造方案建议书 本文内容：
opinion
about,and
statement
of,the
theme.
Moral
inferences
drawn
from
most
stories:
Moral
inferences
may
be
drawn
from
most
stories,no
doubt,even
when
an
author
does
not
intend
his/her
story
to
be
read
this
way.
In
“A
Clean,Well-Lighted
Place”,we
feel
that
Hemingway
is
indirectly
giving
us
advice
for
properly
regarding
and
sympathizing
the
lonely,the
uncertain,and
the
old.
But
obviously
the
story
does
not
set
forth
a
lesson
that
we
are
supposed
to
put
into
practice.
We
can
say
for
sure
that
“A
Clean,Well-Lighted
Place”
contains
several
themes
and
other
statements
could
be
made
to
take
in
Hemingway’s
view
of
love,of
communication
between
people,of
dignity.
Great
stories,like
great
symphonies,frequently
have
more
than
one
theme.
When
we
say
that
the
title
of
Pride
and
Prejudice
conveys
the
theme
of
the
novel
or
that
Uncle
Tom’s
Cabin
and
The
Grapes
of
Wrath
treat
the
themes
of
slavery
and
migratory
labor
respectively,this
is
to
use
theme
in
a
larger
and
more
abstract
sense
than
it
is
in
our
discussion
of
Hemingway’s
“A
Clean,Well-Lighted
Place.”
In
this
larger
sense
it
is
relatively
easy
to
say
that
Mark
Twain’s
Huckleberry
Finn,Updike’s
A
(2)
the
occupations
and
daily
manner
of
living
of
the
characters;
(3)
the
time
or
period
in
which
the
action
takes
place,for
example,the
late
eighteenth
century
in
history
or
winter
of
the
year;
(4)
the
general
environment
of
the
characters,for
example,religious,mental,moral,social,and
emotional
conditions
through
which
characters
in
the
story
move.
(Holman
and
Harman,A
Handbook
to
literature,1986)
But
often,in
an
effective
story,setting
may
figure
as
more
than
mere
background.
It
can
make
things
happen.
It
can
prompt
characters
to
act,bring
them
to
realizations,or
cause
them
to
reveal
their
innermost
natures,as
we
shall
see
in
John
Cheever’s
short
story
“The
Swimmer”.
First,as
we
have
said,the
idea
of
setting
includes
the
physical
environment
of
a
story:
a
region,a
landscape,a
city,a
village,a
street,a
house—a
particular
place
or
a
series
of
places
where
a
story
occurs.
(Where
a
story
takes
place
is
sometimes
called
its
locale.)
Places
in
fiction
not
only
provide
a
location
for
an
action
or
an
event
of
the
story
but
also
provoke
feelings
in
us.
A
sight
of
a
green
field
dotted
with
fluttering
daffodils
affects
us
very
differently
from
a
sight
of
a
dingy
alley,a
tropical
jungle,or
a
small
house
crowded
with
furniture.
In
addition
to
a
sense
of
beauty
or
ugliness,we
usually
build
up
certain
associations
when
we
put
ourselves
in
such
a
scene.
We
are
depressed
by
a
dingy
alley,not
only
because
it
is
ugly,but
because
it
may
arouse
a
feeling,perhaps
sometimes
unconsciously,of
poverty,misery,violence,viciousness,and
the
struggles
of
human
beings
who
have
to
live
under
such
conditions.
A
tropical
jungle,for
example,in
Joseph
Conrad’s
Heart
of
Darkness,might
involve
a
complicated
analysis:
the
pleasure
of
the
colours
and
forms
of
vegetation,the
discomfort
of
humidity,heat,and
insects,a
sense
of
mystery,horror,etc.
The
popularity
of
Sir
Walter
Scott’s
“Waverley”
novels
is
due
in
part
to
their
evocation
of
a
romantic
mood
of
Scotland.
The
English
novelist
Graham
Greene
apparently
needed
to
visit
a
fresh
scene
in
order
to
write
a
fresh
novel.
His
ability
to
encapsulate
the
essence
of
an
exotic
setting
in
a
single
book
is
exemplified
in
The
Heart
of
the
Matter;
his
contemporary
Evelyn
Waugh
stated
that
the
West
Africa
of
that
book
replaced
the
true
remembered
West
Africa
of
his
own
experience.
Such
power
is
not
uncommon:
the
Yorkshire
moors
have
been
romanticized
because
Emily
Bronte
wrote
of
them
in
Wuthering
Heights,and
literary
tourists
have
visited
Stoke-on-Trent
in
northern
England
because
it
comprises
the
“Five
Towns”
of
Arnold
Bennet’s
novels
of
the
early
twentieth
century.
Thus,a
reader’s
reaction
to
a
place
is
not
merely
based
upon
the
way
it
looks,but
upon
the
potentialities
of
action
suggested
by
it.
Places
matter
greatly
to
many
writers.
For
instance,the
French
novelist
Balzac,before
writing
a
story
set
in
a
town,he
would
go
and
visit
that
town,select
a
few
lanes
and
houses,and
describes
them
in
detail,down
to
their
very
smells.
In
his
view
the
place
in
which
an
event
occurs
was
of
equal
moment
with
the
event
itself,and
it
has
a
part
to
play.
Another
example
is
Thomas
Hardy,under
whom
the
presentation
of
setting
assumes
an
unusual
importance.
His
“Wessex”
villages
cast
intangibly
such
as
spell
upon
the
villagers
that
once
they
leave
their
hometowns
they
will
inevitably
suffer
from
disasters,and
the
farther
they
are
away
from
their
hometowns,the
more,terrible
their
disasters
will
be.
For
example,in
the
Tess
of
the
D’Urbervilles,the
Vale
of
Blakemore
was
the
place
where
Tess
was
born
and
her
life
was
to
unfold.
Every
contour
of
the
surrounding
hills
was
as
personal
to
her
as
that
of
her
relatives’
faces;
she
loved
the
place
and
was
loved
in
the
place.
The
vale,far
from
the
madding
crowd
of
the
civilized
city,was
as
serene
and
pure
as
the
inhabitants.
Tess,imbued
deeply
with
the
natural
hue
of
the
vale
and
bound
closely
to
this
world
of
simplicity
and
seclusion,experienced
her
own
delight
and
happiness
though
her
family
was
poor.
It
was,to
some
extent,her
departure
from
her
native
place
that
led
to
her
tragedy.
In
The
Return
of
the
Native,the
atmosphere
of
Egdon
Heath
prevails
over
the
whole
book;
as
an
environment,it
absorbs
some
and
repels
others
of
the
characters:
those
who
are
absorbed
achieve
a
somber
integration
with
it,but
those
who
are
repelled
and
rebel
suffer
disaster.
Sometimes
an
environment
serves
as
more
than
a
mere
place
to
set
the
story.
Often,it
is
inextricably
entangled
with
the
protagonist,and
even
carries
strong
symbolic
meanings.
Cathy
as
an
image
of
the
feminine
personality,for
example,in
Emily
Bronte’s
Wuthering
Heights,is
not
supposed
to
possess
the
“wilderness”
characteristic
of
masculinity
and
symbolized
by
the
locales
of
Heathcliff
and
Wuthering
Heights.
In
some
fiction,setting
is
closely
bound
with
theme.
In
The
Scarlet
Letter,even
small
details
afford
powerful
hints
at
the
theme
of
the
story.
At
the
start
of
the
story,the
narrator
describes
a
colonial
jailhouse:
Before
this
ugly
edifice,and
between
it
and
the
wheeltrack
of
the
street,was
a
grass-plot,much
overgrown
with
burdock,pigweed,apple-peru,and
such
unsightly
vegetation,which
evidently
found
something
congenial
in
the
soil
that
had
so
early
borne
the
black
flower
of
civilized
society,a
prison.
But,on
one
side
of
the
portal,and
rooted
almost
at
the
threshold,was
a
wild
rosebush,covered,in
this
month
of
June,with
its
delicate
gems,which
might
be
imagined
to
offer
their
fragrance
and
fragile
beauty
to
the
prisoner
as
he
went
in,and
to
the
condemned
criminal
as
he
came
forth
to
his
doom,in
token
that
the
deep
heart
of
Nature
could
pity
and
be
kind
to
him.
Apparently,the
author
makes
a
contrast
between
the
ugly
jailhouse
with
a
tangled
grass-plot
overgrown
with
burdock
and
pigweed
and
something
as
beautiful
as
a
wild
rose.
As
the
story
unfolds,he
will
further
suggest
that
secret
sin
and
a
pretty
child
may
go
together
like
a
pigweed
and
wild
roses.
In
this
artfully
crafted
novel,setting
is
intimately
blended
with
characters,symbolism,and
theme.
In
addition
to
place,setting
may
crucially
involve
the
time
of
the
story—century,year,or
even
specific
hour.
It
may
matter
greatly
that
a
story
takes
places
in
the
morning
or
at
noon.
The
medieval
background
informs
us
differently
from
the
twentieth
century.
Kennedy
and
Gioia
note
that
in
The
Scarlet
Letter,the
nineteenth-century
author
Nathaniel
Hawthrone,utilizes
a
long
introduction
and
a
vivid
description
of
the
scene
at
a
prison
door
to
inform
us
that
the
events
in
the
story
took
place
in
the
Puritan
community
of
Boston
of
the
earlier
seventeenth
century.
This
setting,to
which
Hawthorne
pays
so
much
attention,together
with
our
schemata
concerning
Puritan
practice,helps
us
understand
what
happens
in
the
novel.
We
can
understand
to
some
extent
the
agitation
in
the
town
when
a
woman
is
accused
of
adultery,for
adultery
was
a
flagrant
defiance
of
church
for
the
God-fearing
New
England
Puritan
community,and
an
illegitimate
child
was
evidence
of
sin.
Without
information
about
the
seventeenth-century
Puritan
background,a
reader
today
may
be
perplexed
at
the
novel.
The
fact
that
the
story
in
Hawthorne’s
novel
took
place
in
a
time
remote
from
our
own
leads
us
to
expect
different
attitudes
and
customs
of
the
characters,is
strongly
suggestive
of
the
whole
society,which
is
crucial
to
an
essential
understanding
of
The
Scarlet
Letter
as
a
whole.
Besides
place
and
time,setting
may
also
include
the
weather,which,indeed,may
be
crucial
in
some
stories.
2.
Local
color
writing
/regionalism
and
the
writer,a
regional
writer.
When
setting
dominates,or
when
a
piece
of
fiction
is
written
largely
to
present
the
manners
and
customs
of
a
locality,the
writing
is
often
called
local
color
writing
or
regionalism
and
the
writer,a
regional
writer.
A
regional
writer
usually
sets
his/her
stories
in
one
geographic
area
and
tries
to
bring
it
alive
to
readers
everywhere.
Thomas
Hardy,in
his
portrayal
of
life
in
Wessex,wrote
regional
novels.
Arnold
Bennett’s
novels
of
the
“Five
Towns”
are
markedly
regional.
Willliam
Faulkner,known
as
a
distinguished
regional
writer,almost
always
set
his
novels
and
stories
in
his
native
Mississippi.
3.
The
setting
of
a
novel
is
not
always
drawn
from
a
real-life
locale.
The
setting
of
a
novel
is
not
always
drawn
from
a
real-life
locale.
Literary
artists
sometimes
prefer
to
create
the
totality
of
their
fiction—the
setting
as
well
as
characters
and
their
actions.
……
The
creation
of
setting
can
be
a
magical
fictional
gift
in
a
XX广电IP城域网改造
方案建议书
opinion
about,and
statement
of,the
theme.
Moral
inferences
drawn
from
most
stories:
Moral
inferences
may
be
drawn
from
most
stories,no
doubt,even
when
an
author
does
not
intend
his/her
story
to
be
read
this
way.
In
“A
Clean,Well-Lighted
Place”,we
feel
that
Hemingway
is
indirectly
giving
us
advice
for
properly
regarding
and
sympathizing
the
lonely,the
uncertain,and
the
old.
But
obviously
the
story
does
not
set
forth
a
lesson
that
we
are
supposed
to
put
into
practice.
We
can
say
for
sure
that
“A
Clean,Well-Lighted
Place”
contains
several
themes
and
other
statements
could
be
made
to
take
in
Hemingway’s
view
of
love,of
communication
between
people,of
dignity.
Great
stories,like
great
symphonies,frequently
have
more
than
one
theme.
When
we
say
that
the
title
of
Pride
and
Prejudice
conveys
the
theme
of
the
novel
or
that
Uncle
Tom’s
Cabin
and
The
Grapes
of
Wrath
treat
the
themes
of
slavery
and
migratory
labor
respectively,this
is
to
use
theme
in
a
larger
and
more
abstract
sense
than
it
is
in
our
discussion
of
Hemingway’s
“A
Clean,Well-Lighted
Place.”
In
this
larger
sense
it
is
relatively
easy
to
say
that
Mark
Twain’s
Huckleberry
Finn,Updike’s
A
(2)
the
occupations
and
daily
manner
of
living
of
the
characters;
(3)
the
time
or
period
in
which
the
action
takes
place,for
example,the
late
eighteenth
century
in
history
or
winter
of
the
year;
(4)
the
general
environment
of
the
characters,for
example,religious,mental,moral,social,and
emotional
conditions
through
which
characters
in
the
story
move.
(Holman
and
Harman,A
Handbook
to
literature,1986)
But
often,in
an
effective
story,setting
may
figure
as
more
than
mere
background.
It
can
make
things
happen.
It
can
prompt
characters
to
act,bring
them
to
realizations,or
cause
them
to
reveal
their
innermost
natures,as
we
shall
see
in
John
Cheever’s
short
story
“The
Swimmer”.
First,as
we
have
said,the
idea
of
setting
includes
the
physical
environment
of
a
story:
a
region,a
landscape,a
city,
篇3：龙窝湖酒店建议书
龙窝湖酒店建议书 本文关键词：建议书，酒店，龙窝湖
龙窝湖酒店建议书 本文简介：一、项目名称：芜湖龙窝湖渔庄二、项目建设的必要性(一)项目背景：1、建设单位概况(项目法人)芜湖市龙窝湖生态农业综合开发有限公司是集龙窝湖区域的种植、养殖及环境保护为一体综合性农业、渔业开发、科研、发展有限公司；建设芜湖龙窝湖渔庄的目的是充分利用龙窝湖现有的产品和环境优势，进一步开发龙窝湖渔类水产品
龙窝湖酒店建议书 本文内容：
一、项目名称：
芜湖龙窝湖渔庄
二、项目建设的必要性
(一)项目背景：
1、建设单位概况(项目法人)
芜湖市龙窝湖生态农业综合开发有限公司是集龙窝湖区域的种植、养殖及环境保护为一体综合性农业、渔业开发、科研、发展有限公司；建设芜湖龙窝湖渔庄的目的是充分利用龙窝湖现有的产品和环境优势，进一步开发龙窝湖渔类水产品的应用和提高龙窝湖水产品的知名度。
(二)基本条件
拟建地址状况(建设地点)：
利用位于龙窝湖北岸的窝湖生态农业综合开发有限公司现有办楼加以改造。
(三)项目建设的意义
龙窝湖地处长江中下游，原是长江河曲。1960年兴修水利，围垦打坝形成的半封闭湖泊，有控制闸通长江。龙窝湖四周多为沙质土壤农田，主要水源来自繁昌县的横山河，由焦湾闸经三山河流入龙窝湖，全长20公里，一般以区域内的自然降雨或长江引水补充。龙窝湖是长江中下游地区水质最好的淡水湖泊之一。湖中有江心岛——小水影,周围滩涂杨柳依依，芦苇丛生，各种水鸟在此聚集繁延后代。
龙窝湖区位优势明显，自然条件优越，生态环境甚佳，交通十分便捷，是发展旅游和生态养殖的理想场所。该湖正常水位时面积为10500亩，平均水深4.5米，最深处为12米，PH值8.6，溶解氧8.3mg/L，总磷0.06mg/L，总氮0.87mg/L，透明度140～240cm。龙窝湖渔业资源丰富，生长着50多个鱼类品种。其中养殖的品种以河蟹、青鱼、草鱼、鳙鱼、鲢鱼、团头鲂为主；自然增殖的以细鳞斜颌鲴（黄条）、中华鳖、鳗鱼、鳜鱼、鲌鱼、鲶鱼、黑鱼、黄颡鱼、鲫鱼、鲤鱼等品种居多。龙窝湖以盛产细鳞斜颌鲴和河蟹而久负盛名，有“黄条故乡”之美誉。2001年，龙窝湖被安徽省渔业局确定为细鳞斜颌鲴种质资源保护区，2007年5月30日，中央电视台“长江行动”栏目组对龙窝湖生态养殖给予全面报道。
龙窝湖是发展生态旅游的理想场所，具有较高旅游品牌保护价值。本项目的建设是为进一步利用和开发龙窝湖的产品资源和旅游资源的设施之一。可以进一步提高龙窝湖和龙窝湖产品的知名度，为打造芜湖和绿色三山的生态旅游做出贡献。
三、项目建设内容：
(一)
项目建设方案：
1、以龙窝湖北岸的窝湖生态农业综合开发有限公司现有办楼加以改造、添置必要的器具、设备，原建筑物重新加以装修，外部设置一定的绿化景观，充分衬托龙窝湖水天一色的美景，为龙窝湖增加一道靓丽的风景
2、本酒庄主要以经营龙窝湖的各类鲜活水产品为主，设备、设施以鱼类加工为主；
3、环保设施：
环保设施也是此次建设的主要议题，酒庄地处龙窝湖中心，为保证酒庄经营不影响龙窝湖的优美环境，酒庄所有的水。气排放都应达到当地环保部门的排放标准，主要是两项治理内容：
①
废水的治理：
针对餐饮和生活废水含油污及有机物浓度高的特点，废水的治理采用厌氧、好氧气浮式的废水处理工艺，本工艺处理技术已非常成熟，设备简单，投资相对较小，实施较为可行，其具体要艺是：
餐饮及生活废水经管道排入隔油池，经四道隔油处理，可以滤除90%的油污，再进入厌氧池内消除绝大部分嗜氧菌，再进入好氧池内，消除掉绝大部分好氧菌，再经沉淀、沥清，进入气浮反应池，分解掉废水中的有机物。其流程如下图：
②
废气的治理：
餐饮的废气主要是油烟和各种粉尘，采用喷淋除油和活性炭过滤的方式加以治理，具体流程如下图：
(二)
项目建设示意图
(三)
建设项目内容
建设项目内容一览表：
序号
项目内容
建筑面积：平米
投资估算：万元
主要功能
1
原有建筑改造装饰
560
12
主营业场所。
2
操作间新建及装饰
250
10
住宿、餐饮服务
3
埋地式厌氧好氧气浮污水处理设备
13
处理营业中产生的有机污水使之达到环保排放标准。
4
喷淋式烟尘处理设备
3
灶台烟尘处理，使之达到环保排放标准。
5
操作间设备
12
6
包厢、餐厅用具购置
6
7
外部景观设施
2
8
50KVA箱式电站
2
9
其它公用设施
2
合计投资
62
四、项目实施进度
(一)建设工期：
预计新建及装修工期为六个月，可当年对外营业。
(二)项目实施进度安排：
初步设想2011年8月开始立项、签订房屋租赁合同等事宜，2012年春节前既可对外营业。
五、投资估算及资金筹措
(一)投资估算
1、投资估算依据
依据2010年芜湖市政府招标采购交易中心类似建设工程中标平均单位造价测算；
2、建设投资估算
(二)资金筹措方案
本项目投资所须的62万元资金，拟采用股份合作的形式，引进、吸收社会闲散资金，目前已具有一定的意向；
六、效益分析
(一)经济效益：
正常营业后每天营业额按6000元计算：每月税后净利润约36000元，年利润可达43.2万元；上缴政府税收约22万元，18个月左右可收回全部投资。
(二)社会效益分析：
1、龙窝湖酒庄项目建设后可以利用龙窝湖水产品的资源，提高龙窝湖产品的知名度，进一步增加龙窝湖水产品的产量和销售；
2、符合市政府和三山区政府关于大力发展生态旅游的规划思路；
3、可以为三山地区的在产开发和招商引资提花可借鉴的经验；
4、芜湖三山区乃至芜湖市，三产服务行业在国民经济中所占的比重还较小，属于市政府近年来鼓励发展的行业。