问题 问答题

某实施监理的工程项目,监理工程师对施工单位报送的施工组织设计进行审核时发现两个问题:一是施工单位为方便施工,将设备管道竖井的位置作了移位处理;二是工程的有关试验主要安排在施工单位试验室进行。总监理工程师分析后认为,管道竖井移位方案不会影响工程使用功能和结构安全,因此,签认了该施工组织设计报审表并送达建设单位;同时指示专业监理工程师对施工单位试验室资质等级及其试验范围等进行考核。

项目监理过程中有如下事件:

事件1:在建设单位主持召开的第一次工地会议上,建设单位介绍工程开工准备工作基本完成,施工许可证正在办理,要求会后就组织开工。总监理工程师认为施工许可证未办理好之前,不宜开工。对此,建设单位代表很不满意,会后建设单位起草了会议纪要,纪要中明确边施工边办理施工许可证,并将此会议纪要送发监理单位、施工单位,要求遵照执行。

事件2:设备安装施工要求安装人员有安装资格证书。专业监理工程师检查时发现施工单位安装人员与资格报审名单中的人员不完全相符,其中5名安装人员无安装资格证书,他们已参加并完成了该工程的一项设备安装工作。

事件3:设备调试时,总监理工程师发现施工单位未按技术规程要求进行调试,存在较大的质量和安全隐患,立即签发了工程暂停令,并要求施工单位整改。施工单位用了2天时间整改后被指令复工。对此次停工,施工单位向总监理工程师提交了费用索赔和工程延期的申请,强调设备调试为关键工作,停工2天导致窝工,建设单位应给予工期顺延和费用补偿,理由是虽然施工单位未按技术规程调试但并未出现质量和安全事故,停工2天是监理单位要求的。

在事件3中,总监理工程师的做法是否妥当施工单位的费用索赔和工程延期要求是否应该被批准说明理由。

答案

参考答案:

总监理工程师的做法是妥当的。施工单位的费用索赔和工程延期不应该被批准。

理由:该质量和安全隐患是由施工单位未按技术规程的要求进行调试,虽然是关键工作,但也不应该批准工期顺延,费用由施工单位承担。

解析:

[解题思路点拨] 本题是对项目管理过程中发生的事件的判断,在解答本题时,首先要理解问题的内容,根据问题去背景材料中找答案。

单项选择题
单项选择题

Narrative crept back into art through a side door marked fashion photography. In April 1967, French Vogue published a spread by Bob Richardson, the American photographer, that soon became a legend Informally christened " the Greek trip " by Richardson’s admirers, the spread featured Donna Mitchell, a striking brunet model, hanging out on the Aegean island of Rhodes with a male companion.

Of course, narrative never disappeared—it just went to the movies, and stayed, and stayed. But what had caused stories to be exiled from high art The idea of essence, and the equation of essence with goodness. Can you imagine Visual art is essentially composed of form, color, materials. Anything to do with content is extraneous and therefore to be associated with badness; therefore to be eliminated. Moreover, content, says this line of thought, is controlling. This means that a rose is the Virgin Mary (depending on what the meaning of " is " is). And art, like society, must be liberated from such hierarchically imposed values. What this argument overlooked, of course, is that narrative is a form in itself, not just a vehicle for content. Indeed, the ideology of formalism originated, in Soviet Russia, with the analysis of old folk tales. Narrative form, the analysis went, typically proceeds from an initial state of equilibrium through a series of destabilizing episodes, concluding with a heightened state of equilibrium at the end. Think Indiana Jones. You can plug whatever content you want in there as long as it creates the form. Each episode simply has to do with the work of creating disequilibrium.

A narrative does not, in other words, tell a story. A story is told to give listeners the pleasure of the narrative form. If you were to isolate the form of disequilibrium from the specifics of plot, you might arrive at something resembling the collected work of Cindy Sherman. Initially modeled after movie stills, Sherman’s pictures are not, of course, abstract. Over the years, in fact, their content has become increasingly elaborate. I see this as a form of generosity as well as a sign of advanced technical skills. Not since Giuseppe Arcimboldo (1527-1593), perhaps, has an artist contrived to turn the human figure into a more bountiful cornucopia for the eye.

Yet even the most visually splendid of Sherman’s images are minimalist, in that they reduce the narrative down to the precise moment when the center of gravity shifts. Perhaps some unheard word is spoken. A floorboard squeaks. From upstairs comes a thump. And a tentative state of equilibrium gives way to anxiety or dread. That moment, too, represents essence. What more do you need to know

According to the author, " narrative " is to " story " what()

A. " picture " is to " movie still "

B. " goodness " is to " badness "

C. " form " is to " content "

D. " color "is to " visual art "