第三章、具体的验收及保护措施：
1、屋面（露台、阳台）渗水：除进行规范规定的验收外还应进行以下验收（有重复的合并进行）a、在做防水前要对基层及烟（气）道等出屋面洞口封堵做报验和全面隐蔽验收，同时做淋水试验，发现漏点进行弥补；b、防水层做完后再次进行报验，对防水层的施工工艺及防水层高度（露台、屋面防水层高度必须比最终面层高出300mm,应注意屋面坡度对高度的影响，如有保温层的需按规范设置透气帽）进行验收，并做避水试验，如有问题进行整修后再做避水试验，直至不渗水后，进行保护层施工或面层保护；c、保护层或面层（含最终铺装层）做完后最终再做一次避水试验并验收；d、防水层做完后上人部位必须做保护层；
2、外墙渗水：除进行规范规定的验收外还应进行以下验收（有重复的合并进行）a、对墙体砌筑过程验收中的灰缝的饱满度、瞎缝、假缝、通缝进行隐蔽验收；b、外粉前对架眼、拉杆洞、空调洞等外墙洞的封堵要求报验并进行隐蔽验收（外墙预留的洞眼必须用膨胀细石砼堵塞，不能一次成活，另单独进行报验并做隐蔽验收记录，进行凿开抽样试验，200平方米至少抽查3个点，单栋楼至少应抽查4个点，项目部和监理各自指定专职人员对验收结果签字认可）；拉杆洞采用泡沫剂进行封堵；c、在外墙保温做完后对外墙压顶与外墙保温交界处的隐蔽报验及验收（设计时压顶需加宽）；
3、门、窗渗水：除进行规范规定的验收外还应进行以下验收（有重复的合并进行）a、窗框四周在填充泡沫剂时必须密实，经过隐蔽验
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收合格后方可施工防水密封胶，防水密封胶在施工时必须一次性闭合，避免接口；b、下窗框在固定后建议用密缝压条进行覆盖，避免雨水沿螺丝扣渗水，其次是下框泄水口必须低于下框槽底面；c、所有窗框的拼接缝必须密实，采用防水密封胶进行封闭;d、洞口尺寸逐个进行实测；e、门窗竣工验收时做淋水实验（写入施工合同内），在施工方自检合格后，甲方再全面做一次淋水排查；f、窗口施工做法参照下面节点图:
4、卫生间、厨房渗水：除进行规范规定的验收外还应进行以下验收（有重复的合并进行）a、在做防水前要对基层及烟（气）道等出地面洞口封堵做报验和全面隐蔽验收，同时做淋水试验，发现漏点进行弥补；b、防水层做完后再次进行报验，对防水层的施工工艺及防水层高度（露台、地面防水层高度必须比最终面层高出300mm,应
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注意地面坡度对高度的影响）进行验收，并做避水试验，如有问题进行整修后再做避水试验，直至不渗水后，进行保护层施工或面层保护；c、保护层或面层（含最终铺装层）做完后最终再做一次避水试验并验收；d、套管填充的沥青油麻丝和沥青油膏做报验并做隐蔽验收记录；
5、天窗渗水：原则上采用成品天窗，天窗基座必须高出平（坡）屋面，和屋面交接处做砼现浇，不能直接砌砖；窗体本身应大于洞口基座不小于5cm；天窗四周防水处理必须按规范或设计要求施工；天窗竣工验收时做淋水实验（写入施工合同内），在施工方自检合格后，甲方再全面做一次淋水排查；
6、上下水管：在设计上及交房标准上规定“主给水管安装到位，给水支管不安装”；材料进场验收时必须对材质进行抽样检验；过墙套管必须安装避水圈；在室外外露的给排水管处应做保温防冻设施； 7、地下室渗水：地下室墙体在浇注时必须采用抗渗砼，四周上翻500mm高的墙体必须与底板同时浇筑，并提前预埋上交圈闭和的止水带；地下室墙体的预留洞采用套管（在浇筑墙体砼时放进去），套管必须是内高外低；另外地下室底板防水材料必须于墙体防水材料按照规范要求交圈闭合到位。
8、变形缝渗水：主要包括沉降缝、后浇带、伸缩缝等，在施工时必须严格按照规范施工（施工前必须清理到位，施工时振捣到位和密封到位）；
9、室内外高差防潮：水平防潮层与垂直防水层应形成闭合； 10、客户改造装修渗水：这方面主要是物业要管理到位(在业主装修前必须做闭水试验和打压实验，装修完成后再做一次打压闭水试验，形成书面签字资料备查并应由业主签字)；业主改造的遮阳板及封闭
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阳台造成的渗水，应由物业公司在装修流程中给与规定控制；
注：1、以上内容红色字体处请相关人员再做深化考虑并添加内容； 2、项目上由高XX，开发由刘XX提供以前及现在渗漏水的照片；
3、由刘XX将第二大项的工艺做法补充完整；
4、有工程部与总工室结合将规范及标准中的防水图汇总整理出来；
5、下个月将渗漏水照片及规范标准防水图的对比资料展示出来； 6、2009年12月份就防水及渗水一事与czed进行一次彻底沟通和培训；Then how can we translate poems? According to Wang?s understanding, the
translation of poems is related to three aspects: A poem?s meaning, poetic art and language. （1）A poem?s meaning
“Socio-cultural differences are formidable enough, but the matter is made much more complex when one realizes that meaning does not consist in the meaning of words only, but also in syntactical structures, speech rhythms, levels of style.” (Wang, 1991:93). （2）Poetic art
According to Wang, “Bly?s point about the ?marvelous translation? being made possible in the United States only after Whitman, Pound and Williams Carlos Williams composed poetry in speech rhythms shows what may be gained when there is a genuine revolution in poetic art.” (Wang, 1991:93). （3）Language
“Sometimes language stays static and sometimes language stays active. When language is active, it is beneficial to translation” “This would require this kind of intimate understanding, on the part of the translator, of its genius, its idiosyncrasies, its past and present, what it can do and what it choose not to do.” (Wang, 1991:94).
Wang expresses the difficulties of verse translation. Frost?s comment is sufficient to prove the difficulty a translator has to grapple with. Maybe among literary translations, the translation of poems is the most difficult thing. Poems are the crystallization of wisdom. The difficulties of poetic comprehension lie not only in lines, but also in structure, such as cadence, rhyme, metre, rhythm, all these conveying information. One point merits our attention. Wang not only talks about the times? poetic art, but also the impact language?s activity has produced on translation. In times when the language is active, translation is prospering. The reform of poetic art has improved the translation quality of poems. For example, around May Fourth Movement, Baihua replaced classical style of writing, so the translation achieved earth-shaking success. The relation between
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the state of language and translation is so
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