Approximate topics of graduation qualification works (interior design). Approximate topics of final qualification works (interior design) Finishing materials for walls
named after Carl Faberge
ON PERFORMANCE
FINAL QUALIFICATION WORK
(DIploma project)
by specialty
072501 DESIGN (BY INDUSTRY)
DESIGN IN INFORMATION TECHNOLOGY
Moscow 2015
AGREED:
Subject-cycle commission
№ 3 Information technology and computer design.
Protocol No. ___
from "____" __________ 20___
Chairman of the Commission: _____________ /Sutuga O.N./
APPROVE
Deputy Director
for academic work
____________ / V.A. Osovskaya/
Compiled by: Makaveeva N.S. - Lecturer GBPOU SPO KDPI them. Carla Faberge
Reviewers:
___________________________________/_________________________/
___________________________________/_________________________/
CONTENT
Introduction
1. General provisions, goals and objectives, evaluation criteria
1.1. Stages of work on the thesis.
1.2. Evaluation criteria thesis.
2. Topics of graduation design
3. The composition of the thesis
3.2. Explanatory note
3.5. Work in material
3.6. Presentation
4. Applications
1. The form of feedback on the thesis and recommendations for writing it
2. The form of assignment for the thesis and recommendations for writing it
3. Assignment for the student's thesis
4. Design of the title page of the Explanatory Note
5. Form of WRC implementation schedule
6. Making an envelope for a disc with an electronic version
thesis
7. Design of illustrations.
1. GENERAL PROVISIONS,
GOALS AND OBJECTIVES, EVALUATION CRITERIA
State final certification of graduates ( GIA) in the specialty 070602 Design (by industry) is carried out in the form of preparation and defense of the final qualifying work (diploma project)(WRC) , which completes the training of a specialist and is the final stage of training.
The final qualifying work is an independent project and research work student and should reflect the knowledge, skills and abilities acquired by him in the process of learning in solving complex (creative and practical) problems.
The pre-diploma practice preceding this is aimed at the implementation of the technical part of the graduation project under the supervision of the head of the graduation project and with the help of consulting support from teachers of special disciplines.
Management and control over the course of the final qualification work, as well as the organization of preliminary defense and review are assigned to the subject-cycle commission. It also determines the degree of readiness of the final qualifying work for submission to the defense.
These guidelines establish general requirements for the organization, preparation, execution and defense of the final qualification work (by graduate students studying in the specialty 070602 Design (by industry) Design in information technology.
The guidelines have been developed in accordance with the requirements of legislative and regulatory acts that apply to the state final certification of graduates of educational institutions of secondary vocational education.
Students who have completed the curriculum in its entirety and successfully passed the stages of intermediate certification are allowed to work on a graduation project.
1.1. Stages of work on the graduation project
Stage 1 - defining:
Approve the topic of the diploma at a meeting of the cyclic commission;
Determine the plan and schedule for conducting work on the graduation project and
coordinate with the head of the WRC;
Determine the structure of the work and the content of each of its parts;
Analyze literature and Internet sources on the project topic
or research problem;
Put forward an assumption about the result of the graduation project, its novelty and practical significance;
Determine the list of illustrations and teaching aids;
Determine the tasks and stages of performing creative work in the material
(if necessary).
Stage 2 - main:
Justify the relevance and significance of the chosen WRC topic;
Summarize the material obtained as a result of the pre-project research and analysis, logically substantiate the conclusions;
Carry out design - design developments, summarize the received
results, logically substantiate conclusions;
Carry out the necessary economic types of substantiation of the WRC;
Perform the artistic and graphic part of the WRC;
Justify the significance of the WRC topic for design practice in the field of application;
Develop presentation materials for WRC, namely: a computer presentation, visual material (tablets).
Stage 3 - final:
Submit the WRC in full for review to the reviewer and the head of the WRC;
Read the review;
Make the necessary changes in accordance with the comments in the review or prepare reasoned responses to the comments;
Make a plan of presentation for the defense;
To prepare a report;
Respond to the comments of the chairman, head, members of the attestation commission.
Thus, the process of completing a graduation project (WRC) includes a number of interrelated stages:
a) choosing a topic and studying relevant materials ( literature, periodicals, illustrations, Internet materials, etc.);
b) analysis and generalization of information on the chosen topic;
c) definition of the general concept of the project ( in working sketches);
G) practical implementation technological part of the project ( undergraduate practice);
e) execution of an explanatory note (PZ);
f) preparation of the graphic part and presentation of the thesis ( sketches, drawings, sketches, computer presentation and visual support, etc..);
h) peer review;
e) protection.
The schedule of work on the WRC is drawn up taking into account the specifics of the topic and is individual in nature, an approximate version (Appendix No. 5).
The thesis work, completed by the student in full, is submitted for review to the supervisor and reviewer according to the schedule for the implementation of the WRC.
1.2. Graduation project evaluation criteria
The defense of the graduation project is rated "excellent" on the condition that:
−
The work was done at a high theoretical and practical level, with a full disclosure of the topic, a deep, independent, original solution to the problem of the thesis (WRC) was given; author's projects for solving problems on the most pressing design issues in information technology have been developed, in which various research methods and design - design are widely used;
The presented design developments and scientific research carried out as part of the work can be recommended for production or use in real design and design activities;
Graphic design materials are developed independently and executed at a high artistic and aesthetic level using modern computer technologies and specialized design programs;
The thesis reflects the theme of the chosen project or research and is highly professional;
Report on WRC theme done competently, clearly and reasoned;
Reasoned answers to the comments and to all the questions raised during the defense are given.
A work is rated “good” if:
− presented at the GIA WRC is completed in full accordance with the assignment and has the signatures of the graduate, the head of the WRC, consultants for sections of the WRC and the reviewer in the main inscriptions of all documents included in the WRC;
The thesis (WRC) was completed in full, at a fairly high theoretical and practical level, and contains separate conclusions and generalizations;
The developed projects for solving problems on the most pressing design issues in information technology are not so widely represented in the graduation project (WRC);
Graphic project materials are developed independently and executed at a good artistic and aesthetic level using modern computer technologies and specialized design programs;
The presented design developments and studies carried out as part of the work are recommended for use in the process of training in the specialty Design (by industry) as an illustrative and informational aid;
Diploma work (VKR) are executed according to the approved subject;
A good report was made and answers were given to questions during the defense.
The work is assessed as “satisfactory” if:
In the thesis work (VKR), the scientific, theoretical and practical base of the defending problem, issue,
tasks;
Insufficiently widely represented and used scientific and practical
potential of design-design methodology in the field of information technology;
Graphic design materials are developed independently, but are not executed at the proper artistic and aesthetic level. The resources of modern computer technologies and specialized design programs are not sufficiently used;
Presented design developments and scientific research, you-
completed as part of the work, are not of great interest when organizing the learning process in the specialty Design (by industry) as an illustrative and informational aid;
Some parts of the thesis are not presented in full.
(explanatory note, presentation materials);
A mediocre report was made and not all answers were given to questions during the
protection.
An "unsatisfactory" rating is given if:
− the WRC submitted to the GIA was completed in full accordance with the assignment and has the signatures of the graduate, the head of the WRC, consultants for sections of the WRC and the reviewer in the main inscriptions of all documents included in the WRC;
− the report on the topic presented at the defense of the WRC does not reveal the essence of the task and does not reflect the ways to solve it;
− the student does not understand the questions on the subject of this WQR and does not know the answers to theoretical questions that require elementary knowledge of academic disciplines;
− the student is not able to explain the main provisions of the WRC, which indicates the non-independent performance of the work or the results of the work are falsified.
2. SUBJECT OF THE THERMAL DESIGN
With the choice of the project topic, the student's creative work begins, which requires a thoughtful approach, understanding the relevance of the chosen topic and the field of practical application of project development.
Any area of design in information technology can become the topic of the thesis. In general, the topics of the WRC are determined by the following areas:
Print design
Corporate identity development
Website Design
TV show design, TV screensavers, movies, etc.
3. THE STRUCTURE OF THE DIPLOMA PROJECT
3.1. Structural elements of the final qualifying work
The structural elements of the WRC (thesis project) are: explanatory note, practical part (design project in the material) and presentation part (tablets and presentation).
The explanatory note consists of:
individual task for graduation design;
title page;
content;
introductions;
main part (creative part, graphic part, technological part, economic part);
conclusions;
list of references;
applications.
Assignment for the final qualifying work(Appendix No. 3).
The task for the WRC is considered by the PCC, signed by the head of the WRC, deputy. director of IEP and approved by the deputy director of the college for academic work. The original assignment for the WRC is the first page of the work.
Title page ( application number 4 ).
The title page is the second page of the thesis. The title page is drawn up in accordance with the requirements of the IGA by the head of the WRC and is issued to the student no later than a week before internal review.
Content .
The content includes an introduction, the title of all sections, subsections, paragraphs (if they have a title) of the main part, a conclusion, a list of sources and applications used, indicating the page numbers from which these elements of the work begin. Content (table of contents) is formed programmatically, i.e. should be auto-collectible.
The main part of the explanatory note
The content of the PP contains the following mandatory parts (sections):
Introduction
Pre-project analysis.
Development of the concept of the project.
Development of a draft design.
Choice of technical means of project development.
Technological support of the project.
Brief for the development of a design project.
Project estimate.
Creative part.
The grafical part.
Technological part.
Economic part.
Presentation part.
Conclusion.
Bibliography.
Applications
Introduction.
The "Introduction" substantiates the relevance of the choice of topic, formulates the purpose of the work, defines the tasks that need to be solved in the design process, reveals the scientific novelty and practical significance of the thesis.
creative part
"Creative part", includes a pre-project study, which consists of: the study and analysis of sources of creativity, illustrative material, the study of modern trends in design. And also from the description of the development of the WRC concept: the formation of a holistic plan (idea); identifying cultural ties (determining the connection with style and fashion trends in design); descriptions of the design concept and design methods.
The grafical part
The "graphic part" of the diploma project consists of the development of a draft design: the search for a color, font, conceptual and visual solution, graphic style (graphic concept) of the WRC, as well as other graphic documentation and / or layouts that supplement the explanatory note and tablets in A1 format (3 -4 things).
Technological part
The "technological part" consists of the rationale for the choice of technical means for developing the project: computer programs, helping to optimize the design process, significantly facilitate the work and save time for the designer; technological support of the project: preparation of graphics, preparation of the layout of the project, depending on the method of its manufacture; drawing up a technological sequence for the development of the project. Directions: print design, advertising design the technological part may include prepress preparation of the graphic part of the design project - processing of illustrations, layout, color separation.
Economic part
In the "Economic part" the necessary calculations are performed in accordance with the subject of the thesis:
Brief - compiled in all areas of the subject of the WRC;
Project estimate - compiled in all areas of the subject of the WRC;
Presentation part
The presentation part illustrates and supplements the report of the graduate during the defense of the final qualifying work.
Conclusion
In the "Conclusion" the results of the work are summarized: theoretical and practical conclusions are presented on the relevance and novelty of the design solution, evidence of the practical significance of the final qualification work is given. Conclusions should be concise and clear, giving a complete picture of the content, significance, validity and effectiveness of design developments.
Bibliography
References are given in alphabetical order, numbered
in Arabic numerals and is drawn up in accordance with the guidelines for the design of the Explanatory Note of the thesis.
Applications
In the "Appendices" to the explanatory note may be given:
Information bank of the pre-project study, including drawings, photographs on the subject of the WRC;
Other additional graphic materials, (for example: brand book);
The electronic version of the thesis on a disk in an envelope designed in accordance with
3.3. General requirements for the execution of an explanatory note final qualifying work.
The explanatory note should be at least 25-30 pages of A4 format, including applications (technological documents, analogues of design products, development drawings, axonometries, plans, sketches, diagrams, drawings, etc.).
The method of executing the text (typewritten) must be the same for the entire WRC. Mistakes (typos), graphic inaccuracies are not allowed. In its final version, the WRC should not contain blank sheets of paper.
The WRC is also stored on electronic media and transmitted for storage along with the printed text.
The material in the WRC should be presented clearly, clearly, in a third person, using the accepted professional terminology, avoiding repetitions and well-known provisions found in textbooks and teaching aids. It is necessary to explain only little-known or contradictory concepts, making reference to authors who express different opinions on the same issue.
In written work, only generally accepted abbreviations of words are allowed, for example, when it comes to the official abbreviation [Russian Federation (RF), etc.].
After agreeing on the final version of the WRC with the supervisor, the work is printed on a color printer and brochure. For WRC, it is recommended to use a hard folder on the rings for attaching files with the text of the PP or with files; the color of the folders is neutral (black, blue).
After receiving feedback on the WRC, the student can make changes to its content only in agreement with the supervisor. After reviewing the WRC, it is not subject to changes.
Each section and appendix begins in the text of the written work with new page. Sections, in turn, should be divided into paragraphs, which are numbered - 1.1, 1.2, 1.3, ..., 2.1, 2.2, etc. Each section starts on a new page, paragraphs (subsections) are arranged one after another.
All sheets of the WRC (with the exception of annexes) must be numbered. The numbering starts from the table of contents (table of contents) and ends with the last (final) sheet. On the table of contents (table of contents), the serial number of the sheet is put, starting from the title page (as a rule, this is the number "4"). Numbers are formatted programmatically at the bottom of the page with formatting centered.
Page and text formatting
The WRC should be drawn up on one side of a sheet of A4 paper (210x297 mm ± 10 mm). Body Text (Express Normal):
Typeface - Times New Roman; size - 12 pt; alignment - in width, hyphenation - auto; padding left and right - 0; first line indent - 1.25; intervals before and after - 0; line spacing - 1.15.
Section titles (express style Level 1 title)
Headset - Arial; size - 14 pt; style - bold; case - all capitals; alignment - center; padding left and right - 0; indent of the first line - no; interval before - 18 pt; interval after - 12 pt; line spacing - 1.5.
Subsection Title (Express Style Heading Level 2)
Typeface - Times New Roman; size - 12 pt; style - bold; alignment - left; indent on the left - 1 cm; indent to the right - 0; indent of the first line - no; interval before - 12 pt; interval after - 12 pt; line spacing - 1.15.
Caption
Typeface - Times New Roman; size - 11 pt; alignment - on the left edge of the picture; indent on the left - along the left border of the picture, on the right - 0; indent of the first line - no; intervals before and after - 6 pt; line spacing - 1.0.
Table name
Typeface - Times New Roman; size - 11 pt; alignment - left; indent of the first line - no; interval before - 6 pt; interval after - 6 pt; line spacing - 1.0.
Title page layout
The title page of the thesis is drawn up in strict accordance with the sample given in Appendix 4.
Content design
The titles of the headings of sections, subsections and other parts of the thesis in the text and in the content must completely match. All numbered sections and subsections of the main work are given with their numbers. Against each title indicate the page number on which the beginning of this section is located. The content (table of contents) is generated programmatically, i.e. should be auto-collectible.
Design of illustrative material
The content and volume of the illustrative material is determined by the student in agreement with the head of the WQR. Illustrative material may contain tables, diagrams, photographs, drawings, sketches illustrating certain provisions of all the main sections of the work. Illustrations are allowed to be placed on separate sheets, they must be included in the general numbering; page number in this case may not be affixed.
The word "table", its serial number (without the number sign) and the name are written on top of the table itself on the right side.
All illustrations (photographs, sketches) are referred to as drawings. Figures are numbered sequentially within the section with two Arabic numerals (1.1, 2.1, 3.1), the first of which indicates the number of the section, and the second - the serial number of the figure in this section. Figures are placed immediately after the reference to them in the text.
Figures and tables should be placed so that they can be viewed without turning the project around. If such placement is not possible, figures and tables are arranged so that for their consideration it is necessary to rotate the project clockwise.
You can break a table and move part of it to another page only if it does not fit entirely on one page. At the same time, the heading “Continuation of the table “table number”” is transferred to another page, as well as the table header.
Calculation formulas in the text should be highlighted on a separate line.
A sample design for figure captions and table headings is given in Appendix 7.
Making a list of references
The list of references includes all the sources used (at least 10 sources). Information about books should include: surname and initials of the author (in the nominative case); name of the book; place of publication; publisher and year of publication.
The name of the place of publication must be given in full in the nominative case; only two cities can be abbreviated: Moscow (M) and St. Petersburg (S-P).
The name of the publishing house is set off in quotation marks, except when they are a complex abbreviated word formed from the full official name of the publisher.
Preparation of applications for WRC
Each application should start on a new sheet, on the right upper corner which the word "Appendix" and the number indicated by the Arabic numeral (without the number sign) are written. The scope of applications is not limited.
Presentation design
The presentation for the WRC is made in Microsoft Power Point format.
Just like a diploma, a presentation should have a title page. It indicates the name of the educational institution, the title of the thesis, the surname and initials of the performer, the data of the head, the place and year of the defense of the WRC are written at the bottom right.
Please note that the presentation for the WRC is made only in neutral, soft colors, but in the style of your project. The emphasis should be placed solely on the semantic content of the slides, and not on their color, animated pictures or backgrounds.
3.4. Graphic part of the thesis
The graphic part of the thesis consists of graphic documentation (as part of the software) and tablets in A1 format (3-4 pieces). The graphic part is provided in the material and recorded on electronic media.
The sheets may include the preliminary design of the WRC, the necessary drawings, tables and the final versions of the WRC design project.
Tablet design
Tablets are made using traditional graphics and modern computer software (Adobe Photoshop, Adobe Illustrator, Corel Draw, Adobe Dreamwiever, Adobe Flash, Adobe InDesign).
Quantitative visual and graphic material can be three to four sheets of A-1 format.
The basis of the tablet is foam board (thickness not less than 5 mm).
The design of each tablet should contain elements of the WRC title page:
In the upper field: GBOU SPO College of Arts and Crafts named after Carl Faberge No. 36; Final qualifying work on the topic “………”
In the lower field: students: ……………., groups: ………, head of the WRC: ……………., Moscow 20…..
3.5. Work in the material (if necessary)
Depending on the subject of the WRC, a layout (corporate style) or a product can be made. Work in the material should demonstrate, first of all, the technical training of the student, his competence in the choice of technological and design means for implementing the project idea. The number of works presented in the material is determined by the topic of the project and is regulated by the head of the WRC together with the PCC and depends on the complexity and laboriousness of products or models.
Depending on the WRC, the following can be performed in the material:
For WRC on the subject of "Design of Web-sites" and "Design of the design of television programs, TV screensavers, films" the work in the material is provided on a CD.
For VKR on the subject of "Printing Design", "Advertising Design", the work in the material is provided in printed form.
For the WRC on the subject of "Corporate Identity", the work in the material is provided in layouts and / or in printed form.
3.6. Presentation
The presentation of the WRC should be organized in the form computer presentation that combines traditional components with the help of multimedia tools.
WRC presentation slides should describe the problem, the subject of research and the main stages of implementation in the form of concise abstracts. Along with explanations, slides can also contain various diagrams, tables, illustrations and diagrams.
At the end, the presentation is supplemented by a list of results, which should contain conclusions about the relevance and practical significance of the project.
The presentation accompanies the traditional report lasting 5-10 minutes. The report should have a clear structure and sequence: relevance of the topic - goals - tasks - starting positions of the project - description of the project idea - conclusion. Presentation materials must be actively involved in the presentation.
All questions and criticisms should be listened to calmly and your answers, explanations or objections should be given in the correct evidentiary form.
Attachment 1
REVIEW
For a graduation project (work) performed by a student:
Specialty No.
070206 Design in information technology
Theme of the graduation project
«_______________________________________________»
Name of individual parts and their volume in sheets
Compliance of the diploma in terms of volume and content with the task issued
Quality of performance (according to a five-point system)
Explanatory note:
Introduction:
Creative part:
Technological part:
Economic part:
The grafical part:
Use in the graduation project (work) of the latest achievements and advanced methods of technology, science and technology
The possibility of using the diploma and its individual parts in the production and educational process
Advantages of the graduation project (work)
Disadvantages of the graduation project (work)
The opinion of the reviewer on the basis of the analysis of the graduation project (work) on the degree of preparedness of the graduate to work in the specialty
Graduation project (work) of a student: _________________________________________________
Deserves ___________________________________________ rating
Place of work, position of the reviewer:
FULL NAME. reviewer:
"______" __ June ___ 201 ____ Signature _____________________________
I have read the review ______________________________________________________________
(student's signature)
Annex 2
REVIEW OF THE MANAGER
for the student to perform GBOU SPO KDPI them. C. Faberge
_______________________________________________________
/full name of the student/
final qualification work on the topic:
carried out under the direction of: _____________________________________________
Job and student characteristics
The student's graduation project was submitted for review
On the topic
«______________________________________________________”».
________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
General conclusion
__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Supervisor:
teacher_________________________ /___________________/
"______" June 201___
Annex 3
named after Carl Faberge
APPROVE
Deputy directors
for academic work
Osovskaya V.A.
"___" ________ 201__
EXERCISE
student diploma design
_______________________________________________________________
by specialty070602 Design (by industry)
Topic: ________________________________________________________________________________________________________________________________________________________________________________________________________________________
Project content:
Introduction
creative part
The grafical part
Technological part
Economic part
Conclusion
Literature
Project Manager:
_________________________________________ ___________________________________
/FULL NAME./
Consultants:
Economic part
/FULL NAME./
Date of issue of the diploma assignment _________ » March 201____
Deadline for completion of the project ________ » June 201___
Chairman of the PCC No. 3:
__________________________________________________ ________________________________________
/FULL NAME./
Appendix 4
Template for the title page of the explanatory note
DEPARTMENT OF EDUCATION OF THE CITY OF MOSCOW
State budgetary professional educational institution
COLLEGE OF DECORATIVE AND APPLIED ARTS
NAMED AFTER CARL FABERGE
FINAL QUALIFICATION WORK
(GRADUATION PROJECT)
on the topic:
_________________________________________________________________
Speciality: 072501 Design (by industry)
Design in information technology
Completed:
Project Manager:
Consultants:
Design part
The grafical part
Economic part
Date of protection: Defended with rating:______________
"_____" ___________201__
Moscow 2015
Annex 5
Department of Education of the City of Moscow
College of Arts and Crafts
named after Carl Faberge
APPROVE
Deputy Director for SD
Osovskaya V.A.
"___" __________ 201__
Schedule
completion of the final qualifying work
on diploma design of the student _______________________________________
specialty 072501Design (by industry)
070602 Design in information technology
Topic: _____________________________________________________________________________________________________________________________________________
№ p/n
Name of the WRC part
Deadline
Actual due date
Signature of the head, consultant
Topic approval
Work in material
Explanatory note:
Introduction
creative part
The grafical part
Technological part
Economic part
Conclusion,
Literature
Tablet row
Presentation
Protection
Student: ________________________________________________
Supervisor: ___________________________________________
Appendix 6
Department of Education of the City of Moscow
GBOU SPO College of decorative and applied arts
named after Carl Faberge
GRADUATION PROJECT
on the topic:
____________________________________________________________
Specialty: 072501 Design in information technology
Group: CI-4
Student: Ivanov Alexander Yurievich
Project manager: Kolosov Valery Leonidovich
Moscow 2015
Appendix 7
Design of illustrations and links to them in the text (example).
He was the most prominent representative of op art due to both the scope of his work and the logical completeness of his method. He explored the impact of this art and its application to architecture and design, which led to the rise of Op Art inandto such an extent that there was even a danger of turning it into(fig.2.1).
Rice. 2.1. Op-art style in typographic posters.
To achieve external optical effects, op-artists use materials that are not related to painting (metal, glass, plastic), but have a reflective surface. The same goal led the artists to use the expressive possibilities of fabric and transparent materials - a favorite method of advertising and printing, shocking and achieving immediate results. In the same spirit, the generation of artists born between and , whose work is mainly associated with the 1960s, will work - they systematize previous discoveries and multiply the areas of application of op art in everyday life.
Table header design (example).
Word Table 1 is placed in the upper right corner, above the thematic heading of the table, without a dot and italicized.
Table 1
Table header……..
Appendix 8
AUTHOR'S ORDER AGREEMENT No. _______
Moscow city
"_____" ____________ 201___
Hereinafter referred to as the "Author", acting as individual, on the one hand, and
Hereinafter referred to as the "Customer", represented by _____________________________, acting on the basis of _________________, on the other hand,
collectively referred to as the "Parties", and individually as the "Party",
concluded this author's order agreement (hereinafter referred to as the "Agreement") on the following:
1. The Subject of the Agreement
1.1. The "Author" undertakes to create by order of the "Customer" ____________________, which will comply with the characteristics specified in clause 1.2 of the "Agreement" (hereinafter referred to as the "Work") and provide property rights to use the "Works" specified in clause 3.2 of the "Agreement" (hereinafter referred to as the "Exclusive Rights") on the terms of a simple (non-exclusive) license, and the "Customer" undertakes to accept the "Work" and pay the "Author" a fee for the creation of the "Work" and granting the rights to use "Exclusive rights".
1.2. Characteristics of "Works" are indicated in the "Creative Assignment" (Appendix 1 to the "Agreement"), which is an integral part of the "Agreement".
"Creative task" will be the basis for evaluating the "Works" for compliance with the presented "Customer" to the requirements when considering by the "Customer" the completed "Work".
1.4. The "Creative Assignment" is developed by the "Customer" within ________________ calendar days from the date of signing the "Agreement".
1.5. The material carrier of the "Work" is transferred to the "Customer" in the ownership.
2. Copyright
The right to inviolability of the "Work".
The right to publish the "Works".
Right of withdrawal.
The right to the following title "Works": _______________________________.
The right to the following parts of the "Work": __________________________________.
Right to the following characters "Works": _______________________________.
Other rights provided by law Russian Federation.
2.4. The "Author" has the right, without the consent of the "Customer", to involve any persons for the technical and other work necessary to create the "Work", if such work is not a basis for recognizing the person who performed it as a co-author.
2.5. The "Customer" guarantees that it will not violate the copyrights of the "Author" established by the "Agreement" and the legislation of Russia.
2.6. At the same time, when using the "Exclusive rights" to the "Work", each copy "Works" on a tangible medium must contain the name or pseudonym of the "Author" in the following spelling: _________________ or released anonymously, a sign of copyright protection (protection) and _______________________________________________________________.
3. Granting exclusive rights to use the work
3.1. The "Author" guarantees that after the creation of the "Work" the "Customer" will be granted "Exclusive rights" to the "Work" under the terms of a simple (non-exclusive) license in the amount and manner specified in the "Agreement".
In accordance with agreement" The "Author" has the right to transfer the "Exclusive Rights" to the "Work" to third parties.
3.2. Under the "Agreement", the "Author" grants the "Customer" "Exclusive rights" to use the "Work" on the terms of a simple (non-exclusive) license, regardless of whether the relevant actions are performed for profit or without such a goal by all means permitted to the "Customer" Russian legislation.
3.3.1. During the term of the "Agreement" to refrain from any actions that could impede the implementation by the "Customer" of the "Exclusive rights" granted to him to the "Work" to the extent and within the limits established by the "Agreement".
3.3.2. Immediately notify the "Customer" of the termination of "Exclusive rights" to the "Work".
3.4. "Customer" has the right:
3.4.1. Use the "Exclusive rights" to the "Work" for any purposes of the "Customer" in the scope, methods and limits provided for by the "Agreement".
3.4.2. Refuse to execute the "Agreement" if the "Author" in violation of the terms of the "Agreement" refuses to provide the "Customer" with "Exclusive Rights" to the "Work".
3.4.3. Use the "Exclusive Rights" to the "Work" in the following territory: ____________________________________________________________________.
3.5. The "Author" guarantees that at the time of signing the "Agreement" the "Author" is not bound by any obligations with third parties in respect of property rights to use the "Work".
3.6. The "Customer" guarantees that after granting the "Exclusive Rights" to the "Work", he will use the "Exclusive Rights" in the amount, manner and methods established by the "Agreement" and the legislation of Russia.
After the termination of the "Agreement", he undertakes to immediately stop using the "Exclusive Rights" to the "Work" and not to use them in the future.
4. Duration of the contract
4.1. The "Contract" enters into force on ____________________________ and is valid until ___________________.
4.2. The term for granting "Exclusive rights" to the "Work" is ___________
5. Rights and obligations of the parties
5.1.1. Timely, properly in accordance with the requirements of clause 1.2 of the "Agreement" to the characteristics of the "Work", create a "Work" and transfer the created "Work" to the "Customer".
5.1.2. Prior to the creation of the "Work" to develop a preliminary plan, image future "Works" in _________ options, taking into account the requirements for the characteristics of the "Work" specified in clause 1.2 of the "Agreement" no later than ___________ and provide it for approval of the "Customer".
5.1.3. Eliminate identified by the "Customer" in the process of creation "Works" flaws, errors, make changes to the "Work" within ______________ working days from the date of receipt of a written notice from the "Customer" in the event that these shortcomings, changes do not contradict and do not exceed the characteristics of the "Work" established in clause 1.2 of the "Agreement".
5.1.4. Timely notify the "Customer" of all circumstances that make it difficult or impossible creation of "Works" under the "Contract" during _________________ working days since their inception.
5.1.5. Transfer to "Customer" original work.
5.1.6. Create a "Work" from your materials, using your own or purchased by the "Author" tools, equipment, technical means and other property necessary for the creation of the "Work".
5.1.7. After creating the "Work", register the "Work" with a notary public within _________________ business days after signing the act of acceptance and transfer of the "Work" and transfer a copy a document confirming the registration of the "Work" to the "Customer".
5.1.8. Transfer to the "Customer" together with the "Work" all the necessary documentation for the "Work", as well as all the necessary information regarding the operation or other use of the "Work", if the nature information is such that without it it is impossible to use "Works" for the purposes specified in the "Agreement".
5.2. "Customer" undertakes:
5.2.1. To accept the "Work" created by the "Author" in a timely manner.
5.2.2. Pay the "Author" remuneration in the amount, manner and terms stipulated by the Agreement.
5.2.3. Refund "Author" the following expenses:
5.2.3.1. ______________. Reimbursement of expenses by the "Customer" is carried out on the basis of documents confirming the expenses of the "Author". Reimbursement of expenses of the "Author" is carried out by the "Customer" within ______________ banking days from the date of ________________.
5.2.4. Prior to the creation of the "Work", to transfer, at the request of the "Author", all the necessary information and documentation necessary for the creation of the "Work", known"Customer".
5.2.5. From those proposed by the "Author" _______ options of the preliminary plan, the image of the future "Work" within _____ working days, select the most suitable option and transfer this option to the "Author" for execution.
In case of delay by the "Customer" of the term for choosing the most suitable option, the term for creating the "Work" is accordingly increased by the term of delay in choosing suitable option.
5.2.6. Timely report on the shortcomings, errors identified by the "Customer" or the need to make changes or additions to the "Work" in the process of creating the "Work".
5.3. "Author" has the right:
5.3.1. When the "Customer" evades acceptance of the created "Work" or payment of remuneration under the "Agreement" upon the expiration of ______ working days from the day when, according to the "Agreement", the "Work" was to be transferred to the "Customer", and subject to the subsequent two-time warning of the "Customer" to sell the created "Work" to a third party, and the proceeds, minus all payments due to the "Author" to be deposited in the name of the "Customer" in the manner prescribed by Art. 327 of the Civil Code of the Russian Federation.
5.3.2. Do not eliminate comments, do not make improvements to the "Work", if the actions of the "Author" go beyond the scope of the task specified in clause 1.2 of the "Agreement" and the "Customer" does not want to pay extra for additional work (services) to create the "Work". For additional work (provision of services) for the creation of "Works" that are not included in the scope of the task specified in clause 1.2 of the "Agreement", the "Parties" sign additional agreements to the "Agreement", which stipulate additional requirements for the characteristics of the "Work", deadlines, the amount of remuneration for additional work (services) for the creation of the "Work" and other necessary conditions as agreed by the "Parties".
5.3.3. Demand the payment of remuneration in the amount, manner and terms stipulated by the "Agreement".
5.3.4. Demand reimbursement of the expenses of the "Author" in the amount, manner and terms stipulated by the "Agreement".
5.3.5. Require timely acceptance of the created "Work" and signing the act of acceptance and transfer of the "Works" or a reasonable refusal to sign it within the established time limits.
5.3.6. To conclude contract for the alienation of "Exclusive rights" to the "Work" with a third party without the consent of the "Customer".
5.4. "Customer" has the right:
5.4.1. Require the proper creation of the "Work" in accordance with the "Creative Task".
5.4.2. Require timely elimination of identified shortcomings, errors or the need to make changes or additions to the "Work".
6. Terms of creation of the work
6.1. The terms for creating the "Work" are determined in stages in the "Calendar Plan" (Appendix No. 2 to the "Agreement"), which is an integral part of the "Agreement".
6.2. If necessary and if there are good reasons for completing the creation of the "Work", the "Author" is granted an additional grace period of the following duration in __________ part of the period established in clause 7.1 of the "Agreement".
The "Parties" agreed to consider the following valid reasons for granting the "Author" an additional grace period: ____________________________________________.
6.3. After the expiration of the additional grace period granted to the "Author" in accordance with clause 7.2 of the "Agreement", the "Customer" has the right to unilaterally withdraw from the "Agreement". The "Customer" is also entitled to cancel the "Agreement" immediately after the expiration of the period specified in clause 7.1 of the "Agreement", if the "Agreement" has not been executed by this time, and from its terms it clearly follows that in case of violation of the deadline for the execution of the "Agreement" " Customer" loses interest in the "Contract".
7. The order of acceptance and transmission of the work
7.1. Acceptance of each stage creating "Works" is confirmed by the signing by the "Parties" of the act acceptance and transmission of the stage of creation of the "Work", which is drawn up in the following order:
7.1.1. "Author" on completion stage creating "Works" submits to the "Customer" an act transmission-reception stage of creation "Works" by mail or on purpose.
7.1.2. Simultaneously with the act of acceptance and transfer, the "Author" transfers to the "Customer" the following technical and other documentation related to the "Work": _____________________________________________________________________________.
7.1.3. "Customer" is obliged within _________ working days from the date of receipt of the acceptance certificate specified in paragraph 8.1 of the "Agreement", accept (if necessary, inspect with the participation of the "Author", test, conduct examinations, evaluate creative approach of the "Author" and perform other necessary actions to verify the compliance of the created "Work" (part of the "Work") with the requirements established in the "Agreement") "Work" (part of "Work"), sign and return to the "Author" 1 (one) copy of the act transmission-reception or send the "Author" a reasoned refusal to accept "Works" (parts of the "Works") due to non-compliance with the characteristics of the required "Works" or the discovery of other shortcomings that significantly worsen the "Work", by sending it by mail or on purpose.
If the "Customer" refuses to accept the "Work" (part of the "Work") The "Parties" within __________ business days from the day the "Author" received a reasoned refusal, draw up a bilateral act with a list of necessary improvements and the deadlines for their implementation.
7.2. The "Customer" is obliged to accept the "Work", if the "Work", although it does not meet the aesthetic expectations of the "Customer", but fully complies with the characteristics of the "Work" agreed upon by the "Parties", specified in clause 1.2 of the "Agreement".
7.3. In the event that the "Customer" sends a reasoned refusal to accept the "Work" (part of the "Work"), the "Parties" jointly set a deadline for eliminating the identified deficiencies or implementing the necessary improvements.
7.4. If the "Author" did not eliminate the identified shortcomings or did not carry out the necessary improvements within the period agreed by the "Parties", the "Customer" has the right to withdraw from the "Agreement" and demand compensation for losses.
7.5. Early creation of "Works""Author" is not allowed.
7.6. The obligations of the "Author" to create and transfer the "Work" to the "Customer" are considered fulfilled properly and in full in case of signing by the "Parties" of the act acceptance, transfer and transfer of all documentation specified in clause 8.1.2 of the "Agreement".
The obligations of the "Author" to create and transfer the "Work" to the "Customer" will also be considered fulfilled if the "Customer" has not sent the "Author" a reasoned refusal to accept the "Work" within the period specified in clause 8.1.3 of the "Agreement" . After the expiration of the period specified in clause 8.1.3 in the absence of a reasoned refusal of the "Customer", the "Work" (part of the "Work") is considered accepted by the "Customer" and payable on the basis of a unilateral act drawn up by the "Author".
8. The procedure for granting exclusive rights to a work
8.1. The "Author" shall, within the period up to ____________, carry out "Customer" in the following order: _____________________________________.
8.2. As proof of the implementation of the granting of "Exclusive rights" to the "Work" The "Parties" are obliged to sign the "Acceptance and Transfer of Exclusive Rights" (Appendix No. ___ to the "Agreement"), which is an integral part of the "Agreement".
8.3. The moment of granting the "Exclusive Rights" to the "Work" by the "Author" to the "Customer" is the signing by the "Parties" of the "Acceptance and Transfer of Exclusive Rights".
8.4. Responsibilities of the Author on granting "Exclusive rights" to the "Work" are considered to be duly executed in accordance with the terms of the "Agreement" in full from the moment of signing the "Acceptance and Transfer of Exclusive Rights Act".
From the moment of signing the "Act of acceptance and transfer of exclusive rights" "Exclusive rights" to the "Work" are considered provided from the "Author" to the "Customer".
9. Amount of remuneration and payment procedure
9.1. The amount of remuneration for the creation of the "Work" is _____________ (in words) rubles.
9.2. Payment of remuneration for the creation of "Works" is made in the following order: before __________, the "Customer" makes an advance payment in the amount of 100 (one hundred) percent of the amount of remuneration specified in clause 11.1 "Agreements".
9.3. For the provision of "Exclusive rights" to the "Work", the "Customer" pays the "Author" a one-time payment in the amount of __________________ (in words) rubles before ___________.
For the provision of "Exclusive rights" to the "Work", the "Customer" also pays fixed periodic payments within the time limits stipulated by the "Payment Schedule" (Appendix No. ___) to the "Agreement"), which is an integral part of the "Agreement".
9.4. The amount of remuneration for the provision of "Exclusive rights" to the "Work" paid by the "Customer" to the "Author" may be changed by agreement of the "Parties" within the terms that may be additionally determined by the "Parties" of the "Agreement", but not more than once during the period the operation of the "Contract".
9.5. "Customer" pays the "Author" a fee only after withholding from the amount of remuneration all deductions under the legislation of the Russian Federation, according to which the "Customer" is a tax agent for remuneration paid under civil law contracts.
9.6. Method of payment under the "Agreement": transfer by the "Customer" Money in the currency of the Russian Federation (ruble) to the settlement account of the "Author". At the same time, the obligations of the "Customer" in terms of payment under the "Agreement" are considered fulfilled from the day the money is debited by the Bank of the "Customer" from the account of the "Customer".
10. Confidential information
10.1. The "Parties" undertake not to disclose and take measures to protect third parties from unauthorized access to information related to the subject of the "Agreement".
10.2. The "Parties" have agreed to treat as confidential the following information:
_________________________________________________________________________________. In this regard, the "Parties" undertake to take the necessary measures to protect confidential information and not disclose it to third parties without the prior written consent of the other "Party". The terms of confidentiality of this information remain in force during the entire term of the "Agreement" and for 3 (three) years after the end of the contractual relationship under the "Contract".
10.3. The obligations of the "Parties" regarding confidentiality and non-disclosure of information provided for by the "Agreement" will not apply to publicly available information.
10.4. If one of the "Parties" allows the disclosure of confidential information, it will reimburse the other "Party" for the losses incurred, including any real damage or loss of profit.
10.5. Confidential information may be transferred to one of the "Parties" to the authorities state power on the grounds and in the manner prescribed by law, with immediate notification of the other "Party".
11. Liability of the parties
11.1. The "Parties" are liable for non-performance or improper performance of their obligations under the "Agreement" in accordance with the "Agreement" and Russian legislation.
11.2. The penalty under the "Agreement" is paid only on the basis of a reasonable written request of the "Parties".
11.3. The payment of the penalty does not relieve the "Parties" from fulfilling the obligations stipulated by the "Agreement".
11.4. The "Party" that has not performed or improperly performed its obligations under the "Agreement" is obliged to compensate the other "Party" for the losses caused by such non-performance. The burden of proving damages lies with the injured Party.
11.5. Termination of the "Agreement" does not release the "Parties" from liability for non-performance/improper performance of their obligations under the "Agreement".
11.6. The absence of guilt in case of violation of the "Exclusive rights" to the "Work" by any of the "Parties" does not release them from the obligation to stop the violation of the "Exclusive Rights" to the "Work", and also does not exclude the application in relation to of measures aimed at protecting such rights. In particular, the publication of a court decision on the committed infringement (subclause 5, clause 1, article 1252 of the Civil Code of the Russian Federation) and the suppression of actions that violate or threaten to violate the "Exclusive Rights" to the "Work" are carried out regardless of the fault of the violator and at his expense.
11.7. Responsibility of the "Author":
11.7.1. In case of violation of the deadline creating a "Work" or the stage of creating a "Work" The "Author" undertakes to pay the "Customer" penalties in the amount of _______________ percent per day from the remuneration for the creation of the "Work" or the stage of creation of the "Work" under the "Agreement" for each day of delay, but not more than ______________.
11.7.2. In case of violation of the term for the development of a preliminary plan, the image of the future "Work", specified in paragraph 6.1.3 "Agreements" The "Author" undertakes to pay the "Customer" a penalty in the amount of ___________ percent per day from the remuneration for the creation of the "Work" or the stage of creating the "Work" under the "Agreement" for each day of delay, but not more than _____________.
11.7.3. In case of untimely provision of "Exclusive rights" to the "Work" in accordance with the terms of the "Agreement", the "Author" undertakes to pay the "Customer" a penalty in the amount of ___________ percent of the remuneration for granting "Exclusive rights" to the "Work" for each day of delay, but not more than _________ percent.
11.7.4. For violation of the deadline for the transfer of the original "Work" specified in paragraph. 6.1.6 "Contracts" The "Author" undertakes to pay the "Customer" a fine in the amount of _____________ rubles.
11.7.5. For violation of the obligation to transfer to the "Customer" all the necessary documentation for the "Work" or all the necessary information specified in clause 6.1.14 of the "Agreement", the "Author" undertakes to pay the "Customer" a fine in the amount of ___________ rubles.
11.7.6. For violation of the obligation to attract co-authors, specified in paragraph. 2.4 of the "Agreement", the "Author" undertakes to pay the "Customer" a fine in the amount of _________ rubles.
11.7.7. In this case, the total amount of forfeits and fines that the "Author" undertakes to pay to the "Customer" is limited to the amount of real damage caused to the "Customer".
11.8. Responsibility of the "Customer":
11.8.1. In case of late payment of remuneration for the creation "Works", "Customer" undertakes to pay to the "Author" penalties for each day of delay in the amount of _____________ percent per day from the amount of unpaid remuneration under the "Contract" for each day of delay, but not more than _______________.
11.8.2. In case of late payment of remuneration for the provision of "Exclusive rights" to the "Work", the "Customer" undertakes to pay to the "Author" penalties for each day of delay in the amount of ____________ percent per day of the amount of unpaid remuneration under the "Agreement" for each day of delay, but not over __________________.
11.8.3. In case of late reimbursement of expenses under the "Agreement", the "Customer" undertakes to pay the "Author" a penalty for each day of delay in the amount of __________ percent per day of the amount unreimbursed expenses under the "Agreement" for each day of delay, but not more than _____________.
11.8.4. In case of violation of the term for the development of the "Creative Task" specified in clause 1.5 of the "Agreement", the "Customer" undertakes to pay the "Author" a penalty in the amount of ___________ percent per day from the remuneration for the creation of the "Work" or the stage of creating the "Work" under the "Agreement" for each day of delay, but not more than ______________.
11.8.5. For the use of the "Work" in a way not provided for by the "Agreement", or upon termination of the "Agreement", or otherwise outside the granted "Exclusive Rights", the "Customer" shall be liable for the violation of the "Exclusive Rights" to the "Work", provided for by law RF and "Treaty".
11.8.6. In case of violation by the "Customer" "Exclusive rights" to the "Work" "Author" has the right in accordance with paragraph 3 of Art. 1252 of the Civil Code of the Russian Federation demand, at its choice, from the "Customer" instead of compensation for losses, payment of compensation:
- in the amount of 10,000 (ten thousand) rubles to 5,000,000 (five million) rubles, determined at the discretion of the court;
- at twice the cost of copies of the "Work" or at twice the cost of "Exclusive Rights" to the "Work", determined on the basis of the price that, under comparable circumstances, is usually charged for the legitimate use of the "Work".
11.8.7. If the "Customer" who violated the "Contract" received income as a result, the "Author" has the right to demand compensation, along with other losses, for lost profits in an amount not less than such income.
12. Grounds and procedure for termination of the contract
12.1. The "Agreement" may be terminated by agreement of the "Parties", as well as unilaterally at the written request of one of the "Parties" on the grounds provided for by the "Agreement" and the law.
12.2. Termination of the "Agreement" unilaterally is made only at the written request of the "Parties" within _____________________ calendar days from the date of receipt by the "Party" of such a request.
12.3. Use by "Customer" "Exclusive rights" to the "Work" after termination of the "Contract" not allowed.
12.4. The conclusion by the "Author" of the contract for the alienation of "Exclusive rights" to the "Work" with a third party and the transfer of "Exclusive rights" to the "Work" to a third party is not a basis for changing or terminating the "Agreement".
12.5. The "Author" has the right to terminate the "Agreement" unilaterally in the following cases:
12.5.1. If the "Customer" delays the payment of remuneration for the creation of the "Work" by more than for _______________ banking days or delayed the payment of remuneration for the creation "Works" _______________ times.
12.5.2. If the "Customer" delays the payment of remuneration for granting "Exclusive rights" to the "Work" more than _______________ banking days or delayed the payment of remuneration for granting "Exclusive rights" to the "Work" ____________ once.
12.5.3. If the "Customer" delays reimbursement of expenses under the "Agreement" for more than _________________ banking days or overdue reimbursement of expenses under the "Contract" ______________ times.
12.5.4. If "Customer":
- uses or used "Exclusive rights" to the "Work" not on the permission of the "Author" territory use of "Exclusive rights";
- uses or used property rights to the "Work" not transferred under the "Agreement";
- uses or used the "Exclusive Rights" to the "Work" in a manner not provided for by the "Agreement" or upon termination of the "Agreement";
- uses or used the "Exclusive rights" to the "Work" in violation of clause 2.7 "Agreements";
- uses or used "Exclusive Rights" to the "Work" otherwise outside of the granted "Exclusive Rights".
12.5.5. If the "Customer" violated the copyrights of the "Author" specified in the "Agreement" and / or the legislation of the Russian Federation.
12.5.6. Granting by the "Customer" of "Exclusive rights" to the "Work" to third parties.
12.6. The "Customer" has the right to terminate the "Contract" unilaterally in the following cases:
12.6.1. If the "Author" has not created the "Work" after an additional the grace period specified in clause 7.2 of the "Agreement". Also "Customer" has the right to terminate the "Agreement" immediately after the expiration of the period specified in clause 7.1 of the "Agreement", if the "Agreement" has not been executed by this time, and it clearly follows from the terms of the "Agreement" that in case of violation of the period specified in clause 7.1 of the "Agreement " "Customer" loses interest in the "Contract".
12.6.2. If the "Author" has not eliminated the shortcomings identified by the "Customer" in the process of creating the "Work", errors within the period specified in paragraph 6.1.4 of the "Agreement" of the term and the "Parties" did not agree on a different term for the elimination of deficiencies.
12.6.3. If the "Author" has violated the obligation to attract co-authors, specified in clause 2.4 of the "Agreement".
12.6.4. If the "Author" violated the deadline for developing a preliminary plan, an image of the future "Work", specified in clause 6.1.3 of the "Agreement" for ______________ working days.
12.6.5. If the "Author" refuses provide the "Customer" with "Exclusive rights" to the "Work" in accordance with the "Agreement".
12.6.6. Termination of "Exclusive rights" to the "Work".
13. Resolution of disputes from the contract
13.1. The claim procedure for pre-trial settlement of disputes from the "Agreement" is mandatory for the "Parties".
13.2. Claim letters are sent by the "Parties" by courier or registered mail with a notification of delivery of the latter to the addressee at the location of the "Parties" specified in clause 12 "Contracts".
13.3. Direction by the "Parties" of claim letters in a different way than specified in paragraph 9.2 "Contract" is not allowed.
13.4. The term for consideration of a claim letter is _________________ working days from the date of receipt of the latter by the addressee.
13.5. Disputes from the "Agreement" are resolved in court in _____________________.
14. Force majeure
14.1. The "Parties" are released from liability for full or partial failure to fulfill obligations under the "Contract" if the failure to fulfill obligations was the result of force majeure, namely: fire, flood, earthquake, strike, war, actions of public authorities or other independent of " parties" circumstances.
14.2. If any of these circumstances directly led to the failure to fulfill obligations within the terms established by the "Agreement", then these terms are proportionally extended for the duration of the relevant circumstances.
14.3. If these circumstances last more than ___________________ calendar months, then each of the "Parties" will have the right to initiate the termination of the "Agreement" due to the impossibility of its execution. If the "Parties" decide to terminate the "Agreement" on the above grounds, none of the "Parties" will be entitled to compensation for possible losses.
14.4. The "Party" that cannot fulfill its obligations under the "Agreement" must promptly, but no later than _____________________ calendar days after the occurrence of force majeure circumstances, notify the other "Party" in writing, with the provision of supporting documents issued by the competent authorities.
14.5. Failure to notify or untimely notification of the occurrence of force majeure deprives the "Party" of the right to refer to any of the above circumstances as a basis for exemption from liability for failure to fulfill obligations.
14.6. The "Parties" acknowledge that the insolvency of the "Parties" is not a force majeure event.
15. Other terms
15.1. The "Parties" do not have any accompanying verbal agreements. The content of the text of the "Agreement" fully corresponds to the actual will of the "Parties".
15.2. All correspondence on the subject of the "Agreement" prior to its conclusion becomes invalid from the day the "Agreement" is concluded.
15.3. The "Parties" acknowledge that if any of the provisions of the "Agreement" becomes invalid during the term of its validity due to changes in legislation, the remaining provisions of the "Agreement" are binding on the "Parties" during the term of the "Agreement".
15.4. The "Agreement" is drawn up in 2 (two) original copies in Russian, one for each of the "Parties".
15.5. Each of the "Parties" undertakes to notify the other "Party" in writing of a change in its address or bank details no later than _______________ calendar days after the change.
16. Application list
16.1. Appendix No. ____ - "Creative task".
16.2. Appendix No. _____ - "Calendar Plan".
16.3. Appendix No. ______ - "Acceptance and transfer certificate".
16.4. Annex No. _______ - "Act of acceptance and transfer of exclusive rights".
17. Addresses and details of the parties
"Author": place of registration - _________________________; mailing address - __________________; tel. - __________; Fax -________; e-mail -________; TIN -______________; r / s - _________ in _______ to / s ______________; BIK _________; passport: ________________ issued by __________________, subdivision code ______________.
"Customer": legal address - ___________________; mailing address -__________________; tel. -_____________; Fax -_____________; e-mail -_____________; TIN -_______________; Checkpoint - ___________; OGRN - ___________; r / s - ____________ in ___________ c / s _______________; BIC ____________.
18. Signatures of the parties
18.1. On behalf of the "Author" __________ (Surname and initials)
18.2. On behalf of the "Customer" __________ (Surname and initials)
This study guide considers the specifics of the final qualifying work of the Master of Design. A wide range of issues related to the preparation of a master's thesis is analyzed, taking into account modern socio-professional realities. The student will find in the book relevant recommendations regarding the structure, content and methodology of the WRC. The publication is generously illustrated, which allows you to expand your understanding of the material presented.
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1. Interior design project for a small apartment.
2. Design project of the interior of a hotel room.
3. Design project of the interior of the store.
4. Design project of the interior of the office space.
5. Cafe interior design project.
Approximate themes of final qualification works (environment design)
1. Design project of the system of exposition modules.
2. Design project of a set of park furniture with lighting fittings.
3. Design project of the courtyard space.
4. Design project of the city square.
5. Design project of a public transport stop.
6. Design project for a children's playground.
7. Development of the object-spatial environment of the apartment;
8. Development of environmental design of the store (sports goods, furniture center, flower shop, perfumery, children's shoes, etc.);
9. Design project of the interior of a public complex (shop; office of a construction company; design studio; hotel complex; spa salon; beauty salon; Cafe; club, etc.)
10. Draft solution for the subject-spatial content of the interior (townhouse, apartment; cottage; hotel)
11. Development of interior design and landscaping of the cottage
12. Conceptual solution of the space (shop, company, design studio, shopping center, hotel complex, cafe, club, etc.)
13. Landscaping (beautification and gardening suburban area);
The performance of the final qualifying work, regardless of the nature and scope of the topic, is, in fact, work on a local design project. The main regulatory condition in the fulfillment of the WRC task is the observance of the stages of the project process in terms of content and sequence. Not only the methodological consistency of the WRC depends on the observance of these conditions, but, in many respects, the result of the design. The functional, constructive, aesthetic qualities of an object will be the more perfect, the more rationally used informational resources The more accurately and efficiently the design study was carried out, the greater the depth and scale of the design study of the ideas put forward could be carried out.
The main stages of the design process are: pre-project research, analysis of the project's problems, development of a conceptual solution, preliminary study of a conceptual solution, development of technical documentation, preparation of a presentation of design solutions.
Ministry of Education and Science of the Russian Federation
Federal Agency for Education
State educational institution of higher professional education
Final qualifying work
Design project of the interior of the restaurant "GraAl"
INTRODUCTION
Chapter 1
1 Features of catering establishments
2 The history of the development of catering establishments
3 Features of catering in our time
4 Interior Design Trends 2014-15
Chapter 2. Architectural and planning solutions for the interior of restaurants
1 Characteristic features of restaurants
1.1 The essence and economic significance of the restaurant industry
1.2 General characteristics of restaurants
1.3 Features in the design of restaurants
2 Characteristics of the premises of the restaurant "GRAAL"
2.1 Entrance
2.2 Restrooms
2.3 Smoking areas
2.4 Bar counter
2.5 Anteroom
2.6 Trading floors
2.7 Service room
2.8 Washing compartment for tableware
2.9 Room for storing and ironing table linen
2.10 Production facilities
2.11 Service rooms
3 Eclectic design style
4 Arrangement of furniture in the interior
5 The meaning of color in creating interior design
6 Psychological and aesthetic aspects of the impact of color on the creation of an artistic image in environmental design
7 Overview of modern lighting fixtures for public buildings and their classification
8 Modern finishing materials for the interiors of public buildings
8.1 Finishing materials for ceilings
8.2 Finishing materials for walls
8.3 Finishing materials for floors
9 Restaurant sustainability
9.1 Soundproofing in a restaurant
9.2 Climate control technologies in the restaurant hall
10 Restaurant name feature
11 Huge House
Chapter 3. Labor protection
1 Instructions on fire safety measures for cafes and restaurants
2 Instructions on fire safety measures for kitchen premises
CONCLUSION
LIST OF USED LITERATURE
APPS
INTRODUCTION
Topic of the thesis: Restaurant interior design project.
The purpose of the thesis: design a restaurant project.
Object of study: a restaurant that can accommodate up to 100 guests.
Subject of study: restaurant interior.
To achieve the stated goal of the study, the following tasks:
Solution and substantiation of theoretical issues of the research problem;
Comprehensive study of practice, accumulation of data, analysis and their systematization, mathematical processing, identification of a typical state, shortcomings, omissions, study of best practices;
Substantiation of the system of measures to solve the problem, development of proposals for the use of research results in the practice of relevant institutions and organizations.
The relevance of research: modern interior design is characterized by various, outwardly even contradictory trends: on the one hand, the desire to saturate the interior space as much as possible technical devices, special equipment (air conditioning systems, computer technology etc.), on the other hand, "approach" to nature, the inclusion of natural components in the interior (greenery, pools, relief fragments, transparent coatings and walls that open the interior to the natural environment).
Tasks of the organization inner space and the formation of the interior as a complete architectural composition cannot be divorced from the requirements for which this space arises. The expenditure of huge funds and human labor for construction always begins with the definition of goals. Characteristically, the interior space, able to provide for the conduct of life, household and production processes and created comfortable conditions, is directly dependent on the economic and material and technical level of development of society. So, for example, the degree of ergonomic, aesthetic and design solutions of space, the norm of usable area, fundamentally change the nature of the interior of a catering room, namely a restaurant.
This design project proposes the reconstruction of the 1st floor of the premises for the restaurant "GRAAL". Restaurant - a type of catering establishment that prepares and sells hot and cold drinks, dairy products, bakery and confectionery products for consumption on the spot, as well as a variety of dishes in the evening to create an environment conducive to the relaxation of visitors. Concert and variety performances and musical groups can be organized in the restaurant. Waiters work in the restaurant of the highest and first category of visitors.
First, consider the theme of the restaurant. It is necessary to decide in what style all this should be done. Lots of options. They depend solely on the customer's imagination, the designer's abilities and, of course, on the status that the restaurant will have. If you want to impress with exotic, then you can’t do without popular oriental motifs. Doors are moving apart, visitors are at a tea ceremony, etc. Pastel colors of the walls, mats on the floor, low tables - this is not just an original interior, but a whole philosophy of life in the East. Here, visitors can escape from all the vain everyday problems and immerse themselves in the contemplation of their souls. The restaurant may also turn out to be a Chinese pagoda decorated in the national colors of China: red and gold. Remember the vibrant Chinese carnivals with deep mystical overtones. Most often, when it is cloudy outside, you want to find yourself in such a cozy corner. The restaurant "GRAAL" was created by me in the style of a single eclecticism. A variety of modern materials helped me create a truly indescribable combination. The cold sheen of the metal was combined with warm and vice versa bright, intense colors. I also paid special attention to the lighting in the interior. The use of bright light created a feeling of a large open space, subdued - helped to create an intimate atmosphere. Each restaurant should have tables of different "caliber": tables for 6-10 people are conveniently located in separate rooms, here you can arrange small banquets or meetings of friends; tables for 2-3 seats so that loved ones can chat calmly; Tables can also be provided business communication four people away from the general noise. At corner tables, chairs can be replaced with cozy sofas with lots of small pillows.
Often the accent of the restaurant is the bar, so it should be given special attention. Most often, it will be the starting point for understanding the entire interior of the restaurant. It can be decorated in bright colors, have an unusual shape, or simply be illuminated in a special way. But don't get hung up on one style. Time is inexorable - fashion changes, new materials, new design finds appear. The interior of the restaurant should grow and develop in step with the times. After all, visitors, no matter how much they love a certain restaurant, get bored with monotony. I want something new, special and beautiful.
The main thing is that the mood of the restaurant does not go away with the change of the interior, which creates an atmosphere close to the visitors. We must remember that we eat to live, not live to eat. Therefore, eating should bring aesthetic pleasure, and this is facilitated by the environment. To achieve this goal, ergonomic, artistic and economic research methods were used. The ergonomic method was used to study the placement of furniture and other equipment in the interior of the restaurant. With the help of the artistic method, the color scheme and the selection of materials were developed. The practical significance of the results obtained provides an opportunity for further work in the field of design. So, considering the actual theme of designing public catering premises, the goal of this graduation project is to create a modern restaurant interior with a pronounced image and stylistic direction, in the design of which analogues on this topic, literature and regulations, which contain general information on catering premises.
The final qualifying work consists of: introduction, three chapters, conclusion, list of references and conclusion.
Chapter 1
.1 Features of catering establishments
Catering is a field of production and trade in which produce and sell products of their own production and purchased goods, as a rule, are intended for consumption on the spot. A public catering establishment is an organizational and structural unit in the field of public catering that produces, prepares and sells culinary products, bakery, flour confectionery and purchased goods. A public catering enterprise is an institution (a set of institutions), which is an independent business entity and has the rights legal entity. Types of catering establishments:
restaurants;
cafes, cafeterias;
canteen, including canteen at enterprises, educational institutions
eateries;
buffets, grocery stores;
kitchen factories, procurement factories.
Classes of restaurants and bars: first, highest, luxury.
A public catering enterprise chooses a class independently, taking into account the level of assortment, technical equipment, service (self-service, waiters, combined), aesthetic design, and the like.
On the facade of a public catering establishment there should be a sign indicating its type (class), name and mode of operation, which, if necessary, is agreed with local governments or the administration of the enterprise that serves this establishment.
Public catering establishments must ensure proper sanitary conditions in accordance with the rules, use appropriate approved detergents and disinfectants; workers must undergo regular medical examinations. Technological equipment, inventory and utensils must meet certain requirements - have certificates of conformity or be made from permitted materials. Meals should be served only today. The number of dishes according to the menu must be provided throughout the day or the period determined for their implementation (breakfast, lunch, dinner). Catering establishments must have menus and price lists. The range of dishes is approved by the management; in their manufacture, it is necessary to adhere to technological regimes in accordance with the collection of recipes, standards, and the like. You can independently develop and approve signature dishes. At public catering establishments, the use of cash registers is mandatory. Measuring equipment must be checked and serviceable.
Taxation is carried out in accordance with the law. Occupational risk class production for the payment of the accident insurance fee. When selling alcoholic beverages, a fee is paid for the development of viticulture, horticulture and hop growing.
Features of accounting in public catering. Accounting in public catering has much in common with accounting in trade - the use of an account, the establishment of trade margins, sales through the cash register using cash registers, etc.
However, there are a number of features characteristic of this type of activity:
In public catering, the following production processes can be distinguished:
blank;
production;
implementation;
organization of consumption.
The last process is characteristic only for this type of activity.
Public catering enterprises carry out both production and trade at the same time. Expenses, as in trading, are accounted for. On one card account, only the cost of used products, raw materials is written off; instead of the first account, you can use a separate sub-account of the account.
Large internal movement of values, heterogeneity of goods and materials, a large number of financially responsible persons lead to an increase in the volume of documents that accompany the movement of goods, and an increase in the number of sub-accounts. Specific primary documents - daily intake sheets, which document the release (fence) of goods, raw materials, semi-finished products from the pantry to the kitchen, and the like.
Sub-accounts of the Goods account:
"Goods in the pantry";
Goods in the kitchen";
“Goods in the bar, dining room, restaurant;
"Goods in the confectionery shop";
Goods in buffets, kiosks.
If necessary, third-order sub-accounts are opened, for example:
"Products in the bar";
"Products in the restaurant"
Specific pricing
The percentage of the trade margin is determined, as in retail, but for all divisions (margins in the warehouse, in the kitchen, in the canteen may be different); The catering mark-up is set as a percentage of the retail price without VAT and depends on the category of the establishment and the type of product or raw material.
There are restrictions - on bread, salt, vegetables, flour, baby food, pasta. Prices are regular and banquet; banquet prices are determined by setting a certain percentage markup to regular prices.
Products of own production are not written off to the warehouse, but are immediately transferred to the trading floor, kiosk, etc.; therefore, in accounting there is no moment of completion of production, release of finished products.
The cost of finished products is determined by compiling a cost estimate based on a menu plan, a collection of recipes, and established prices; the cost of each component is calculated at its own price. The calculation is usually calculated for 100 servings in standard form calculation cards.
Implementation is documented as follows:
settlement receipts;
waiter's bills
invoices;
subscriptions with the obligatory execution of the sale through cash registers or paybooks.
When selling outside the trading floor, it is necessary to have a certificate of quality, which indicates the name of the enterprise, its address, product name, date of manufacture, expiration date, conditions for sale and storage, weight of a packaging unit, price per packaging unit or product weight.
1.2 The history of the development of catering establishments
Public catering arose as a result of the social division of labor, and it is precisely this that contributes to the sparing expenditure of labor and creates conditions for eating near the place of work, study and recreation.
Bringing the network of public catering establishments closer to factories and factories, educational and scientific institutions ensures the organization of a rational diet, saves time for rest for workers working at enterprises.
The production of high quality food for various groups of the population, which meets the requirements of nutritional science - this is the main task of catering establishments. In general, it should be noted that since fire appeared in people's lives, culinary began to emerge, improve and change. Primitive cuisine, as it was among primitive peoples, went through a long, long and difficult path of development before finally turning into an exquisite culinary art, incorporating the achievements of modern science and technology. Cooking recipes many dishes were created first at home, and then by chefs of wealthy houses and restaurants. The thinkers of Ancient Rome, Greece and the East wrote about the art of cooking. Especially many cookbooks were published in France, XVIII-XIX centuries. court cooks of aristocratic houses (Karem, Eskafie, Cremon, etc.).
Many books have been translated into other languages. Cooking food for a long time remained a culinary affair, the art of individuals. The scientific basis was not developed, there was no technical basis, and some recipes were generally kept secret. The first restaurants opened in Paris, and cafes in Istanbul back in the 16th century. A century later, they could be found in the cities of Germany, the Czech Republic. As for Russia and Ukraine, here the history of restaurant business is not so deep. In addition, famous restaurateurs of the past Talon, Dumas and others. There was actually foreign copying on domestic soil. The circle of visitors to such establishments was rather narrow, and, accordingly, the culture of visiting restaurants did not develop. There were few cookbooks and recipes then, especially in Ukraine. In 1779, Ukraine, which was mostly part of Russia, borrowed the original cookbook“Cookery Kitchen Notes”, the author of which was Iz. Drukovtsev, in which she indicated only the names of Russian national dishes.
Lovshin's Culinary Kitchen Dictionary was also of particular interest; it was issued in 1795, in which, along with recipes for French, German, Dutch, and English cuisines, 225 recipes for folk Russian and Ukrainian cuisine were collected. Many literary sources describe the great variety and richness of Ukrainian cuisine.
The common origin of the Russian and Ukrainian peoples and the commonality of their material culture naturally created common characteristics of their cuisines, which are sharply different from the cuisines of other peoples of the East and West. Territorial proximity, the commonality of life and culture of the Russian and Ukrainian peoples, to a large extent, contributed to the rapprochement of the methods of cooking themselves using various types of plant and animal products. However, due to a number of social and economic circumstances, Ukrainian cuisine is in decline. The intensification of the feudal exploitation of the peasants, frequent crop failures, excessive taxes, heavy redemption payments that the peasants had to pay for the land, after the "reform" of 1861, put them in difficult material conditions. But the publishing house of culinary literature continues.
The "Encyclopedia of Nutrition" for the first time provides physical and chemical substantiations of some culinary processes, describes the history of nutrition of peoples of different times, raises the question of the need to train chefs, open research institutions (Academies of Nutrition) and rational nutrition enterprises. But in those days, an attempt to scientifically substantiate cooking did not find development.
At the initiative of the progressive hygienist F.F. Erisman with the participation of D.V. Kanshin were the first in the world to open the "Canteen of normal food". The staff of these canteens was supposed to be a doctor, and food in them was organized according to special standards, in compliance with sanitary and hygienic rules. The canteen began publishing the first scientific culinary magazine, Leaf of a Normal Dining Room, which later became known as Our Food. Despite their great popularity, the "Normal Food Canteen" lasted only four years and was closed. Cooking for a long time remained a culinary affair, the art of individuals. The scientific basis was not developed, there was no technical basis. During the development of capitalism, the nutrition of the Ukrainian people worsened even more. Under these conditions, Ukrainian folk cuisine could not fully preserve its fullness and diversity. In the second half of the XIX century. In large cities, restaurants, canteens, cafes began to open for the most affluent segments of the population, where the French were invited to work as chefs, who brought with them the recipe and cooking technology of Western European dishes and arbitrarily changed the cooking technology of Ukrainian cuisine. Wealthy landlords and capitalists began to invite French chefs even for home cooking.
The further development of culinary art made it possible to further expand the range of modern culinary recipes, improve them and invent new recipes for dishes. A new stage in the development of public catering establishments arose during the period when Ukraine was part of the Soviet Union.
However, until the thirties, this industry did not receive proper development because the attention of the country, which was then part of the USSR, was directed to industrialization and the organization of the collective farm economy.
Over time, large canteens began to appear at enterprises and factories. Public canteens were of great importance in providing food to the population. The leaders of the USSR adopted a resolution "On the Further Development and Improvement of Public Catering", which provided for the transition of the industry to the structure of the industry as a result of the introduction of work with semi-finished products in canteens, restaurants, cafes and snack bars. This decision focused on importance public catering and a number of measures aimed at improving its quality were planned.
Particular attention was paid to the quality of dishes and the forms and methods of serving the population. Public catering, which has become an important branch of the national economy, is closely connected with the development of the entire economy of the socialist state and the solution of significant social problems. Over time, working, school and student meals have been strengthened and improved in our country. Complex meals, food delivery to workplaces, subscription billing systems, mechanized lines for distributing complex meals, etc. have received universal approval. The nutrition of people working in the evening and night shifts has improved. Particular attention was paid to rational nutrition, to the introduction of complex meals compiled on a scientific basis. Developed food rations, services, "hospitality industry".
This industry is focused primarily on the consumer and his needs. Hospitality is one of the fundamental concepts of civilization. For a long time in the developed countries of the world, it has become a profitable industry, which employs many millions of professionals. The "hospitality industry" is focused primarily on the consumer (client, guest), the satisfaction of whose needs is the end result of the business activity of the enterprise.
The professional glossary of the "hospitality industry" of recent years pushes out such words as "Customer", "Client" (consumer, client) from everyday use and replaces them with "Guest" (guest). Thus, even in a linguistic perspective, not to mention professional activities, there is a trend of changing the business activity of enterprises in the "hospitality industry". An important goal of business activity in the hospitality industry is, first of all, to satisfy the needs of the guest, and only then - to increase the income of the enterprise.
The "hospitality industry" includes the development of cafes, bars, restaurants, canteens and other catering establishments that are created to meet human needs for nutrition and provide good service. This industry also creates good conditions for the development of the country's economy, because it attracts many tourists from other countries. The development of all public catering establishments has its own history, which depends on the type of establishment (cafe, bar or restaurant). Such institutions in large cities can form entire complexes that are combined on the basis of certain characteristics: the homogeneity of products and raw materials, what is produced and consumed, the nature of the organization and production technology, the material and technical base and forms of customer service. Public catering differs from other sectors of the economy in a special professional composition of personnel. The history of the development and formation of restaurants and the restaurant business is interesting.
The restaurant business is one of the most significant components of the "hospitality industry". At the same time, the restaurant business, on the one hand, is one of the ways to profitably use capital, and on the other hand, it is a highly competitive environment. Throughout the civilized world, it is to retain regular consumers of their products and services. All establishments and enterprises must have a high level of competitiveness. Today, probably, no one will be able to say how and when the first restaurant was opened. It is generally accepted that the restaurant is an exclusively Parisian invention. It all started with taverns during the Middle Ages. Their essence was such that they worked mainly for visitors and travelers, and therefore local residents practically did not go there.
By the beginning of the 18th century, these establishments had practically exhausted themselves and began to decline, as people preferred that the cook come to cook food at home. There are some descriptions of former taverns. A traveler passing through Paris in 1718 commented on these establishments: “The tables are completely unsuitable for foreigners, but there are no other tables here. An overly modest and polite person will not even be able to eat there properly. Closer to the center of the table, regulars sit down, who tell fresh anecdotes without interruption. Armed with tireless jaws, they pounce on food at the first signal. Woe to him who chews his food slowly! It is useless to turn to the servant - the table will be empty even before the person starts the meal.
The time has come to radically change the approach and open completely new catering establishments that focus on the environment and a high level of service. Thus, the result of progress was the first restaurant in the modern sense of the word. At first, the place where broths, soups, meat and egg dishes were served was called a restaurant. But, most importantly, they already had an individual a la carte service. The owner of such a restaurant was Boulanger, who opened his establishment in 1765. The next major breakthrough came in 1786, as that year saw the opening of the first luxury restaurant based on an English tavern at the Palais Royal. The owner of this tavern was Antoine Beauvilliers, who previously worked as a chef for the Count of Provence. Bovillier tried to do everything possible for the convenience and comfort of customers. His establishment was distinguished by chic and sophisticated furnishings: tables were made of mahogany, crystal chandeliers, tablecloths with damask patterns. The restaurant also had its own wine cellar and, of course, the food was of the highest quality. On June 8 of the same year, a government decree was issued that restaurant owners were allowed to cook and receive visitors in winter until 11 p.m., and in summer - until 24. As you know, it is difficult to take the first step, but when the foundation was laid, the restaurant business began develop rapidly.
New establishments were opened, the owners paid more and more attention to the style of the restaurant, service, introduced variety into the menu with the involvement of cuisines of other peoples of the world. And soon restaurants grew into a separate industry, so familiar to us today. This is the place where you can have a good rest, and most importantly, tasty food, which is what modern restaurants provide for visitors.
.3 Features of catering in our time
Nutrition is one of the basic vital conditions for human existence. Human health, his working capacity and mood, normal development largely depend on nutrition. Quantity, quality, range of consumed food products, timeliness and regularity of food intake are important for the life of the body. “A good, kind cook is worth a doctor,” says a popular proverb. These words underline the close relationship between a deliciously prepared variety of food and human health. The skill of cooking is one of the oldest branches of human activity.
Modern extensive experience in processing food products and preparing dishes from them has been accumulated over many centuries, and now it has been embodied in public catering and has a certain financial aspect of its development. Public catering establishments have their own history of development throughout the entire period of human existence. The public catering system consists of a combination of certain features of the traditional everyday culture of an ethnic group: a set of foodstuffs, methods of processing them and preparing dishes, food restrictions, prohibitions and advantages, a daily diet, an assortment of ritual dishes, customs associated with cooking and eating food.
The nature of innovations in modern nutrition concerns, first of all, the level of consumption, increasing the calorie content, expanding the range of dishes through interethnic and other contacts, introducing small household appliances, gasification and electrification. In recent decades, public catering has played an important role both in the city and in the countryside. With all the shortcomings of this system, which, in particular, are manifested in the standardization of food, it to a large extent contributes to fixing in everyday life.
.4 Interior design trends 2016
The outside world is becoming faster and more aggressive, a modern person can only find peace in a cozy interior. This year, the emphasis is on presenting the home of a modern person as a refuge from the hustle and bustle of the streets. Interior designers face an interesting task - to combine home comfort with elegance. Equipping their home ownership, the current buyer has become more attentive to the choice of interior items, as well as to look closely at their price.
Here's what world-famous designers have to offer in 2016. All the colors of the rainbow will come into fashion, and the most popular colors will be Fuchsia Red, Bright Green, Lavender, Pink Dust, Palace Blue and Salmon Pink. Also, the classic neutral gray color will not lose its popularity, which allows you to focus on unusual and bright interior items, and also allows you to “play” works of art (Fig. 1.4.1, Fig. 1.4.2) Designers will offer their clients next year, with building a house or cottage, deep shades of blue, as well as warm biscuit and spicy colors, combined with gold and green hues, will create coziness and warmth in the house. Another fashion trend will be the predominance of bright colors in the interior. yellow color and shades from sunny to mustard.
1. More light!
Rice. 1.4.1
Next year, it will become fashionable to paint rooms during the construction of houses and cottages or during major repairs in bright, saturated colors completely, without focusing on individual elements, so industrial designers suggest paying attention to lighting your refuge home. This is due to the appearance of lamps with more lamps than before, and the lamps themselves will become brighter.
2. Experiment with wallpaper!
Rice. 1.4.3
Rice. 1.4.4
In 2016, photo wallpapers will not lose their former popularity. Many well-known companies are preparing to release new collections depicting birch, bamboo, futuristic graphic ornaments, etc. (Fig. 1.4.3). Wall murals are quite budgetary means to change your appearance and express yourself by ordering wallpaper with the image of your personal photos or works of your favorite artists (Fig. 1.4.4). Therefore, for the comfort of the restaurant, I used a photo trellis
You can decorate walls and any interior items with patterns. When ordering interior design from a construction company, ask about the possibility of creating decor in your apartment. Fashionable in 2016 will be a mixture of styles and the use of non-traditional materials.
House 2016 is, first of all, a comfortable house with comfortable and elegant furniture. To recover after a busy day, relax and unwind, that's what the owner of the house wants. Therefore, one of the fashion trends will be functional and easy-to-clean furniture, as well as chic, but calm interior items.
All elements of wood or wood finishes will be popular in 2016. New collections of parquet, wall and ceiling panels will be presented in both classic and extravagant colors such as resin, wood or metal. Wooden furniture will also be a fashionable accent in the interior. The smell and warmth of natural wood will bring comfort and harmony of nature to your home. When ordering an architectural design layout from a construction company, do not forget about this fashionable and chic trend.
The glow of the metal will not fade in 2016. Shades such as pink gold, pink copper, dark silver, platinum will be used to create metal elements in interior design. The energy and brilliance of the metal will make you feel like you are in a wonderful future. 8. Feel like a star! A gift to the representatives of Bohemia was presented by interior designers in 2016, bringing the Hollywood Regency style into fashion. An eclectic mix of neoclassical, art deco, baroque and Asian style, interior decoration with expensive fabrics, bamboo and Chinese elements, lacquered furniture and furniture with mirrors will create a chic, custom design for a Hollywood star's home. This fashion trend is aimed at people who love symmetry, grace and bright colors.
Colors, style and materials designers will borrow in 2016 from Mother Nature. All shades of green, brown, blue, yellow, wooden elements will help to create your own corner of nature in the house. Such cozy accessories as floor lamps, wicker rugs, handicrafts of your children will be a worthy decoration of such a natural interior.
The use of natural materials such as mats, bamboo wallpaper, cork flooring is one of the fashion trends of 2016. The demand for environmentally friendly and sustainable building materials has also increased. Taking care of the environment, conserving natural resources is becoming not only fashionable, but also vital. Based on the above, I tried to transfer the comfort of home into the design of the restaurant, so that every visitor would feel at home.
Chapter 2. Architectural and planning solutions for the interior
1 Characteristic features of restaurants. Features of the interior design solution of the restaurant is the correct layout of the space
Each institution has its own characteristics, its own zest. It is necessary to focus on these features and create a harmonious design based on them (Fig. 2.1.1). good design restaurant creates a close interaction between guests and staff. The space should be organized in such a way as to meet the functional requirements of employees, but at the same time be hospitable and convenient for visitors.
All decor elements should work in the same direction: the interior design of the restaurant creates an atmosphere, the lighting emphasizes it, the shape of the waiters continues the chain - in general, everything should emphasize the features of the kitchen. One of the central places of the restaurant is a bar, the appropriate lighting of which favorably emphasizes the stylistic features of the interior. In addition, good lighting makes people more attractive and promotes favorable communication. When immersed in the design of the restaurant, people should feel at ease, and the atmosphere should be conducive to relaxation. Therefore, you need to avoid bright bursts of design ideas, develop the design idea on nuances that will simply support the overall style (Fig. 2.1.2).
The interior decoration of a restaurant is a whole composition dedicated to a particular topic (Fig. 2.1.3). Here everything should flow harmoniously from room to room and to the street. It is not aesthetically pleasing if the visitor observes the highway from the window of an Art Deco restaurant. In this case, it is necessary to decorate the windows so that reality does not dissonate with the interior concept of the room.
.1.1 The essence and economic significance of the restaurant industry
An important role and acquires specific features, which makes it possible to consider the restaurant industry in resort and tourist centers as a component of the tourism industry. A characteristic feature of tourist services in hotels is the provision of a full range of services (breakfast, lunch, dinner). There are two main ways to meet demand - for organized and individual tourists. Organized vacationers have been known to pay food money up front when they buy a holiday. However, the expenses of organized vacationers are not limited to the purchase of a voucher. They additionally buy fruits, ice cream, drinks and more. The branching of the restaurant business network, the level and quality of service contribute to a large extent to the satisfaction of these needs.
Unlike organized vacationers, individual tourists have a need not only for the basic services of restaurant enterprises, but also for additional ones, i.e. vacation lunches, dinners at home, as well as tourist sets of these dishes in special packaging suitable for consumption in the bosom of nature and in a car, buying semi-finished products of the maximum degree of readiness, etc.
Restaurant enterprises in hotels contribute to attracting the share of income of tourists from different regions to circulation. Thus, there is a transfusion of purchasing funds from one region to another, from one country to another. In addition, the satisfaction of needs outside the permanent place of residence transforms the expenditures of the population's purchasing funds, in particular, the expenditures for the purchase of goods are replaced by expenditures for services. And this contributes to the mobilization of free funds of the population. The restaurant industry creates conditions for achieving the public goals of tourism development. People from different countries meet and get acquainted in restaurants, a favorable environment is created here for mutual understanding, useful, business contacts, development of social and cultural life. The restaurant industry receives a significant share of income from both domestic and international tourism, activates foreign exchange earnings, creates conditions for the "export" of services and their entry into the international market. In addition, the "export" of services is carried out on rather favorable terms, since it is not associated with transportation costs.
A significant part of the material and technical base of the tourism industry is concentrated in the restaurant industry. The degree of comprehensive service and satisfaction of the needs of tourists in different tourist areas of the country significantly depends on the quality of construction, the level of equipment and equipment, and the variety of its types.
.1.2 General characteristics of restaurants
A restaurant is a catering establishment where, along with eating, recreation services are provided to the guest (Fig. 2.1.2.1).
Rice. 2.1.2.1 Fig. 2.1.2.2
The restaurant assumes a high level of comfort, a wide range of dishes and drinks, an artistic interior, a perfect serving of food and drinks, and an appropriate organization of service and recreation. Depending on how the restaurant meets the above requirements, it is assigned the following categories: deluxe, superior, first (Fig. 2.1.2.2)
2.1.3 Features in restaurant design
The interior of restaurants is the organization of the internal space of a building (premises), which is a visually limited, artificially created environment that provides normal conditions for human life. This is a complex, multifaceted phenomenon that is capable of producing a huge aesthetic, psychophysiological impact on a person. Favorable conditions for a person in restaurants are provided by creating comfort both in the restaurant itself and in the territory adjacent to it. The general comfort of the interior space of the restaurant is an integral concept. It includes ecological, functional and aesthetic comfort of the environment of any restaurant premises.
Ecological comfort is created by a combination of temperature, humidity, air velocity and exposure to radiant heat that is optimal for the human body. For example, at rest or when performing light physical work, the temperature in winter should not exceed 18-22, and in summer 23-25 ° C; the speed of air movement in winter should be 0.15, and in summer 0.2-0.4 m / s; relative humidity-40-60%. An important component of the microclimate of any room is insolation (irradiation of the premises with sunlight and natural light).
The duration of insolation for many restaurant premises, according to sanitary norms and rules, should be at least three hours a day. In the premises of hotels, where people spend most of the day, there should always be clean and fresh air and normal noise conditions. Functional comfort determines the ease of use of any room (Fig. 2.1.3.1). It provides protection from the environment, safety and implementation of all functional processes of human life.
The separation of all human life processes in the premises is carried out by the methods of functional zoning as a common space of the restaurant with the allocation of functional blocks. Microzoning is also carried out through a rational choice of equipment and its optimal placement in any interior.
Aesthetic comfort predetermines a positive emotional mood of a person. This is ensured by the means and techniques by which the integration of all elements of the interior into a single whole for perception is achieved. The aesthetic comfort of the interior depends, first of all, on the harmony of the object-spatial environment, on how the integrity and consistency of its elements is achieved. The aesthetic organization of the environment, or the achievement of the beauty of the interior, includes many different tasks. The main ones are the composition of the space, the color scheme and surface finish, the economic (designer) form of equipment and furniture, the solution of decorative details, lighting, landscaping, etc. (Fig. 2.1.3.2)
Thus, the interior of any restaurant room should have ecological, functional and aesthetic comfort, which I paid great attention to when developing the design of the GRAAL restaurant.
Rice. 2.1.3.2
Ecological comfort in the interiors is created mainly due to the engineering systems of restaurants: ventilation, air conditioning, centralized dust removal, heating, etc. Functional comfort is mainly provided by an optimal set of furniture and equipment. Furniture is one of the active components in the formation of interiors.
2.2 Characteristics of the premises of the restaurant "GRAAL"
Consider the most important components.
They are the following:
entrance part
Toilet rooms
Smoking room
Anteroom. Shopping room
Service room
dishwasher
Room for ironing table linen
Table linen storage room
Industrial premises
Domestic premises
.2.1 Inlet
The facade of the restaurant "GRAAL" is, first of all, advertising. Its appearance corresponds to the architectural requirements of the building and attracts the attention of visitors, it has a neat and rich appearance. A light canopy over the entrance is an element of care for the guest. It contributes to the cleanliness of the enterprise, because in rainy or snowy weather it allows visitors to dust off their umbrella and clean up their shoes. A necessary element of the entrance culture is good lighting, a bright and expressive advertising sign about the opening hours.
The entrance part of the restaurant is equipped with sanitary and hygienic equipment: a brush-rack for feet, a threshold-scraper for shoes, a bin for cigarette butts and garbage. The doors are designed so that they open to the street, this is a necessary condition for fire safety. The pavement is lined with a material that washes well and keeps a tidy look throughout the day.
.2.2 Restrooms
The planning of these premises in the restaurant provides for a toilet room, entrance vestibules, toilet rooms in which a wash basin is located, that is, each of the rooms is fully equipped for a personal toilet. Tambours are designed as a barrier for functional rooms when leaving them. The toilet room is used to serve visitors with hygiene products, storage of cleaning equipment. In the restrooms, the exemplary sanitary condition of the toilets is constantly maintained, it serves guests with soap, towels, napkins, disinfects and deodorizes the room. The walls of this room are tiled to the ceiling, the floor is made of light materials (tiles, marble).
2.2.3 Smoking areas
In the restaurant "GRAAL" all zones are provided with intensive ventilation, waiters put ashtrays on the tables.
And also, there is room number 1 which is reserved for guests who do not smoke.
.2.4 Bar counter
The bar is one of the main accents of the GRAAL restaurant, so I paid special attention to it. It is she who is the starting point for understanding the entire interior of the restaurant. The market offers a large selection of bar counters from various materials - plastic, wood, stone and many others. But I decided to design it myself for the restaurant, guided by all the rules regarding their development.
The bar counter occupies one of the central places in the establishment, so its design must be approached seriously and thoughtfully. So, despite the fact that when designing it, it is necessary to take into account the nuances of the room and the color scheme of a particular interior. When planning the bar counter, I paid special attention to the front itself, to the fact that it should be thoughtfully ergonomic, because it workplace a bartender and a place where the visitor should be comfortable, where the functionality and convenience of the bar counter, as well as its compliance with the style of the room, play an equally important role in the design.
For the production of the bar counter of the GRAAL restaurant, the following materials were used: chipboard, MDF, natural ebony, decorative plastic, glass, mirrors, acrylic. The counter organizes the space of the bar, allows you to express its individuality and reflect the concept of the institution.
The height of the bar counter in the restaurant is 110 cm. It is a separate structure, emphasized by the lighting, created to attract the eye, and forms a harmonious ensemble with the ceilings, walls and the rest of the restaurant furniture. The rack consists of three main elements: a bar module, a wall module and a visor with illumination. The bar module, in turn, is divided into a work and guest countertop, a facade part, as well as work drawers and compartments for built-in appliances. The wall module consists of two compartments: drinks are displayed in the upper one (this is information for visitors about the assortment of the bar and decoration of the hall), built-in appliances are in the lower cabinets, they store dishes in them. Lighting is installed in the canopy.
2.2.5 Anteroom
This area is essential for serving guests. It is designed to gather groups of guests of various sizes, here the head waiter meets visitors, talks with them and takes orders for banquets. Mostly this is a transitional, trading floor, premises. But, in the absence of such a room, I decided to organize an entrance hall at the expense of part of the trading floor. I placed the entrance hall at the entrance to the restaurant, equipped it with a soft sofa and floor lamps. The minutes of waiting do not seem long, because light, pleasant music sounds. To reduce noise, the floor was covered with a soft covering.
.2.6 Trading floors
The trading halls of the restaurant are divided into halls according to their purpose. general purpose and banquets. The interior of the general purpose hall is made in the Eclectic style, with the same menu and service. These halls are designed for a wide contingent of visitors.
A special hall (banquet) is intended for receiving a small number of guests on a specific occasion. The banqueting halls in the GRAAL restaurant: two No. 1, 4, made in the same style, with the same menu, ways of serving food and drinks. And also cabins were designed for 6-8 guests who, for example, want to retire.
When creating a restaurant interior design project, it was created: the artistic value of the interior, comfortable furniture, favorable seating layout, effective ventilation, pleasant lighting of the sales area, high-quality table setting, high-quality promotional products, proper serving of food and drinks. The interior of the restaurant is laid with valuable materials (precious tree species, highly artistic finishing elements: carving, forging, etc.). It has a stylistic unity. For lighting, various lighting lamps, which provide the ability to control the intensity of light. Directional lighting lamps, colored lamps and ceiling lamps, wall sconces were used to create lighting effects.
.2.7 Service room
The service room is one of the most important auxiliary services of the trading floor of the restaurant "GRAAL". It ensures the constant availability of the necessary assortment of dishes, controls losses, issues and receives all serving items, organizes accounting and write-offs, issues an exchange fund to the dishwasher department.
Proper organization of storage of dishes is of great importance for extending the period of use and reducing losses from the battle. All glassware is expediently stored in plastic containers measuring 400x600x180 mm. They are also handy for storing all chinaware other than plates and plates. The possibility of stacking containers allows, with a small area of the service, to have all the necessary range of dishes and accessories in operation.
The organization of the issuance and receipt of dishes is an important element of the work of the service. Before starting work, the waiters submit a written application for the necessary utensils and serving items. The application indicates the name and number of items, the date of receipt, the name of the waiter and a personal signature. After the delivery, the counter of dishes puts down in the column "delivered" the number of items handed over. In the column "shortage" indicates the number of missing items. The reasons for the shortage are clarified immediately and measures are taken to compensate for it. In the presence of broken dishes, an act of the established form is drawn up, according to which it is written off daily.
.2.8 Washing compartment for tableware
The process of washing tableware in the restaurant "GRAAL" is carried out manually. Therefore, 7 washing baths were installed in the washing department: two - for washing glassware, two - for washing accessories, three - for washing plates and special dishes.
The dishwasher is equipped with the following equipment:
washing baths - 7 pcs.;
table-counter for used dishes;
table-counter for issuing clean dishes;
a table with a bin for collecting food waste and garbage;
industrial tables for the work of dishwashers;
wall dryers for plates;
electric dryers for drying towels;
cabinet for storing detergents and disinfectants, cleaning equipment; first aid kit.
Organization of the work of the dishwasher department: Before starting work, one of the dishwashers receives an exchange fund of dishes made of porcelain, glass, metal, as well as accessories in the service room upon request.
During the working day, used dishes and cutlery are immediately exchanged by the waiter in the dishwasher department for clean ones. Such an order of work completely eliminates unproductive waste of time for waiters to exchange dishes, promotes rhythmic work, speeds up customer service, and reduces the loss of dishes.
2.2.9 Room for storing and ironing table linen
The restaurant "GRAAL" provides a high culture of service. A necessary condition for sanitation and hygiene in a restaurant is the separate storage of clean and used linen. To do this, in the room for storing table linen, various compartments are provided. Used linen is stored in linen bags in special boxes on racks. These bags are laced for transport to the laundry.
Clean linen is stored on racks in another room by size and name. For convenience, tablecloths are folded in piles of 10 pieces, napkins of 50 pieces. Ironing is carried out in a separate compartment for clean linen using electric ironers or manually. Tablecloths, ready for distribution to the hall, are better stored on hanging brackets, napkins and towels - on racks.
The waiter receives linen upon written request. The table linen storage room is open throughout the day and provides for the reception of used linen and the issuance of clean linen as needed.
.2.10 Production premises
Production facilities include workshops: cold appetizers, hot workshop, meat and fish semi-finished products, vegetable, confectionery, sweet dishes. If it is impossible to organize workshops, they will equip the corresponding departments, which was designed by me in this restaurant project. The issuance of ready meals here takes place through the department of cold appetizers and hot ones. The correct organization of the work of these departments determines the speed of serving dishes and their high quality. One of the main indicators of food quality is the appropriate serving temperature. To do this, heating for plates and plates is installed at the dispensing point, and tables with cooling counters are installed in the cold appetizers section. Spacious and convenient distribution points greatly facilitate the work of the cook and speed up the process of receiving dishes.
2.2.11 Service rooms
Of the household premises, a wardrobe for cooks, waiters, a rest room, a shower room and a toilet room were designed. For service personnel, individual lockers are installed, where uniforms are stored outside working hours. Sewing and repair of clothes is carried out at the expense of the enterprise. The dining room has a table for the staff to eat.
.3 Design style Eclectic (escletic)
Eclecticism, also eclecticism (Greek εκλεκτός, “chosen, selective”, from Greek εκλέγω, “choose, select, elect”) is a mixture, combination of heterogeneous styles, ideas, views, etc., based on their artificial combination. The term was introduced into use in the 2nd century by the founder of the philosophical school of eclecticism, Potamon. I decided to design a restaurant in this style because it is possible to use mixed styles or a combination of objects from different origins, styles and times. Eclecticism becomes a style in the interior if it is designed according to the principle of combining no more than two or three stylistic types, united by color, texture, architectural solution (Fig. 2.3.1).
Rice. 2.3.2
This direction of style, or rather, the absence as such, usually flourishes at a time when one style has already “worked out” itself, and the other has not yet appeared (Fig. 2.3.2). It can be said that the present, the end of the 20th - the beginning of the 21st century, is the time of Eclecticism.
Everything that you like or fits functionally is fashionable. This style is characterized by rounded corners, strict vertical lines and receding shapes. It is distinguished from all furniture styles by the use of decorative elements in the form of zigzags, circles, triangles, suns, etc. The Eclectic interior style is popular precisely for its atypicality, rejection of standard solutions and stereotypical approaches (Fig. 2.3.4).
All the best that was accumulated in the past centuries by fashionable styles was reflected in Eclecticism, which was able to organically absorb a variety of decors (Fig. 2.3.5).
A distinctive feature of the style is comfort and beauty in any element of the interior. Eclecticism, however, offers its own characteristics - comfortable furniture, soft surfaces, an abundance of textile fragments in processing.
In modifications, Eclecticism requires submission to a certain color, its various shades, although the decor elements themselves can correspond to different stylistic directions (Fig. 2.3.6). In addition to color, accessories should combine texture and structure (Fig. 2.3.8, Fig. 2.3.9).
Rice. 2.3.3 Fig. 2.3.4
Rice. 2.3.5 Fig. 2.3.6
Rice. 2.3.7 Fig. 2.3.8 Fig. 2.3.9
The pretentiousness of furniture forms, intricately curved and screw elements, should demonstrate dynamism (Fig. 2.3.7). A lot of spirals and curls create the impression of movement in time - such a style of Eclecticism.
.4 Arrangement of furniture in the interior
Modern furniture according to the nature of the constructive structure is divided into stationary, combined multifunctional (when one item performs two or more functions) and one that is transformed (including sectional). (Fig. 2.4.1) Requirements for furniture are set according to comfort and their purpose. Comfort is determined by the quality and quantity of furniture products, and the functional purpose is determined by the range of furniture. When placing furniture, the norms of gaps and passages between pieces of furniture must be taken into account. (Figure 2.4.2)
Rice. 2.4.1Fig. 2.4.2
The arrangement of furniture in the trading floor depends on the configuration of the room, the placement of doors, windows, columns, stage and dance floor.
Tables are arranged in straight lines, in a checkerboard pattern, in groups-zones, which are separated by main and additional aisles. The width of the main aisles varies between 1.5-2 m in restaurants, and 1.0-1.2 m in cafes and bars.
Additional aisles are needed to distribute guest flows. In restaurants, their width should be at least 1.2 m, in cafes and bars 0.8-0.9 m.
The width is determined by the backs of the chairs, standing at a distance of 0.5 m from the table. It is better to arrange square tables diagonally near walls and columns, this creates additional convenience during service. Rectangular tables are often placed near the walls, round ones - in the middle of the hall. It is not recommended to place tables in line with the front door. Rectangular tables should be at a distance of 10-20 cm from the walls. Armchairs and chairs are arranged so that the seats are no more than half under the table. In cafes and bars, wall-mounted and semicircular sofas are used, next to which tables are also placed. Between groups of tables, more often near walls or columns, sideboards for waiters are placed at the rate of one sideboard for one or two waiters. Utility (side) tables are placed near part of the tables or, if they are mobile, at sideboards. For convenience in work and to maintain the appropriate temperature of the drinks that are served, sideboards-refrigerators, cabinets-refrigerators, showcases-sideboards with cooling are installed. Every day, the head waiter distributes service areas between waiters and thus creates equal working conditions for all members of the team.
.5 The meaning of color in creating interior design
Of particular importance for the interior design of catering establishments is the solution to the problem of color and lighting. Color and light must be subject to the customer service process. Being in the hall of the restaurant, customers will experience the influence of color. It has been scientifically proven that color greatly affects the emotional state of a person, his mood, well-being and performance. Obviously, the impact can be positive or negative. The color scheme should be carefully thought out in order to create an atmosphere of coziness, comfort, safety and tranquility in the service rooms. And how to define what is harmony, beauty in design, what is the idea of a beautiful thing, a beautiful product? Regarding design, the concept of “beautiful” is very complex and relative.
In design, the most important thing is the utility of a thing, the benefit of it to a person. An excessive passion for color to attract attention often leads to pettiness or absurd consequences. In the design practice of design, color, as one of the most important components of the subject-spatial environment, is organized in accordance with specific conditions and taking into account psychophysiology, psychology and aesthetics. The emotional impact of color varies significantly depending on the shape, size and texture of the surface, the purpose of objects.
Our emotional attitude to objects of technology is significantly related precisely to how their color composition is solved, to what extent it corresponds to the features of function and form. Color in modern technology is not only an active means of composition, but also a significant quality factor. The color should not be “thought out” later, the color should be chosen consciously in order to use it as a development of the composition idea. Already at the first sketch stages, it is necessary to build a composition with color and tone. Color is closely related to proportions, scale, it helps to reveal static or dynamic.
The tasks solved with the help of color can be divided into three groups:
Color as a factor of psychophysiological comfort (a set of amenities that a person receives when using things): optimal lighting, coloring the room in optimal colors, avoiding adverse working conditions or climate;
Color as a factor of emotional and aesthetic impact;
Color in the visual information system. If you touch on the design of things in general, you can trace a number of certain patterns of perception, for example: glossy curvilinear surfaces look darker due to strong contrasts of highlights and shadows, on matte surfaces the contrast strength decreases. Thus, the creation of a harmonious object environment in terms of color is possible only with the visualization of the entire complex of problems. Color harmony cannot be the result of a combination of isolated functional, ergonomic and colorimetric characteristics.
6 Psychological and aesthetic aspects of the impact of color on the creation of an artistic image in environmental design
The influence of lighting, color and texture in the room is much stronger than outside: the oversaturation of color, as well as color starvation, is especially felt in the interior. Color in rooms can help or hinder functional processes. His choice is determined by many reasons, and the psycho-physiological impact and emotional perception in the interior are not at all the same as in the external environment. In each specific case, it is necessary to take into account sanitary and hygienic standards, the general compositional idea, the structure, shape and size of the internal space, climate features, and the degree of illumination.
In creative hands, color becomes a tool that can completely change the mood of a room, create an artistic image and hide imperfections. In particular, it has been found that blue and green colors evoke the impression of infinity. Blue color relieves anxiety, eliminates insomnia, dispels obsessive thoughts. Green dilates capillaries and soothes. Blue color reduces pulse rate and muscle tension.
Cold shades (this fact has been proven in special studies) cause a reduction in the rhythm of cardiac activity and a decrease in body temperature, therefore, they have a beneficial effect on people in hot weather and in stuffy rooms.
Warm shades of red and yellow have a therapeutic effect, in particular, they have a good effect on appetite. Orange color is the most physiologically favorable, it tones and causes joy. Red speeds up the heartbeat and raises blood pressure, excites and stimulates the brain. Very dark tones have an adverse effect on a person. large quantities. Sadness and negative emotions paralyze voluntary movements and contribute to feelings of tiredness and fatigue. When deciding what color scheme the interior will be designed in, it is important to take into account the size and illumination of the room. For a large restaurant hall, you can use saturated colors, and in a small banquet hall, this option is not practical. The lack of space can be compensated (that is, illusoryly expanded) using cold shades, and a large room can be given comfort and a sense of security by operating with warm shades of color. It is also important to note the use of compositional principles.
So, a color scheme based on contrasts is a little confusing and increases vitality. The composition, built on subtle nuances, helps to maintain an atmosphere of calm, relaxation and leads to pleasant reflections. Restaurant interior design is a separate story. How are they different from others? And almost everyone, because behind a beautiful interior, a customer service system should be thought out. Lots of different little amenities for both customers and staff. Such as places for dishes, equipment placement, its connection, ventilation and much more. In the interior design of the restaurant, I used the Eclectic style.
style design interior restaurant
2.7 Overview of modern lighting fixtures for public buildings and their classification
In the last decade, there has been a trend towards maximum humanization of the living environment of modern man. At work, on the street, in transport, at home, on vacation and in other places of stay - artificial lighting accompanies us everywhere, it is an integral component of the human living environment, because we receive about 80% of information through the organs of vision. The real confirmation of this is a large number of various lighting installations that surround us. The main components of any lighting system are the light source and the lighting fixture. They and their parameters as a whole determine the efficiency of the lighting installation. The most important factor that, along with the color scheme of the interior, determines comfortable service conditions at catering establishments, is the correct organization of lighting. Natural lighting can affect the mood of people. The same thing happens with artificial light. Due to poor lighting, a state of depression can occur.
Some designers claim that you can create interesting lighting and do nothing else. They exaggerate a little, but such a statement is not without meaning. Artificial light sources today are so diverse, their design and technical capabilities so perfect that it is possible to satisfy the tastes and needs of any client. When choosing a source of artificial light, one should proceed from how it harmonizes in style and color with the interior. We should also not forget about its functionality, that is, it gives enough light, a pleasant light for the eyes. I successfully selected and reasonably located light sources that created an atmosphere of comfort and make the guests' stay in the GRAAL restaurant comfortable (see Appendix B).
The nature of light is such that, with proper use, it illuminates, fills, structures the space, accentuates compositional centers, draws attention to successful interior elements and individual details, and masks layout flaws. Experts believe that in order for the room to be cozy and comfortable, it must have at least three sources of artificial light. Moreover, it is desirable to use all types of lighting (background lighting - general, working, accentuating - decorative). The overall composition of light will be successful if the lamps are located at different levels, have different light intensities, lighting can be varied depending on the situation. For example, in a restaurant, cafe, the lighting should be especially bright during breakfast so that customers can read newspapers and magazines. In the evening, lighting should help create an atmosphere of festivity, solemnity or comfort. It is also advisable to use lighting, which is characterized by a combination of areas with sufficiently bright lighting and darkened ones. Bright lighting can highlight the most interesting elements of the interior. With the help of light, you can transform the interior of the restaurant hall. For example, by highlighting it in various ways, you can "push" the walls, crush the plane of the wall with a beam of light, give it dynamics and visually enlarge the room. Also, in order to increase the space, you can create the effect of a “high” ceiling, as if increasing the height of the room. To do this, light sources are evenly placed in a row behind the cornice along the wall. When they turn on, the ceiling seems to come off the walls and seem higher.
Particular attention should be paid to the organization of outdoor lighting, which helps to attract visitors. Outdoor lighting of the building itself, signs and approaches to it should be in harmony with the environment and at the same time attract attention. If the enterprise is located on a city highway, then the lighting should be dynamic and bright.
If a restaurant or cafe is located in quiet corners of the city, away from traffic noise, then calm lighting will prevail, in harmony with the cozy interior. Light plays an important role in our life. However, light alone is not enough to create comfort. An important role is played by where and what kind of light falls, how it pours. Conventional, traditional lighting is widely known - it is a chandelier, floor lamps or sconces fixed in the center of the ceiling of the room, which give a static direction of light. Today offers to deviate from this rule and the main trends are the diversity and mobility of light sources. Despite the fact that the chandelier, as before, is a source of general lighting, especially if the interior is designed in a classic style, the central placement of the chandelier is no longer a priority. Increasingly, the chandelier is mounted exactly in the place where it is most needed, for example, above the seating area or the kitchen table. An interesting lighting option is the use of spherical, spherical lamps mounted on the ceiling. Most often, these lamps are opaque. This makes it possible to scatter light, preventing glare and illuminating the entire room. Using this option will create lighting that is not annoying to the eye, fill the room with soft shadows, and the light will be evenly distributed throughout the space of the room, reflecting from the surfaces of the room.
To complement the light interior of the room will allow the use of local or decorative lighting. In this case, an option is possible, for example, in an office or bedroom, when general lighting is by and large not needed, and here local lighting will play a positive role. The use of a sconce, spotlights, floor lamps will allow you to highlight a specific object of the interior. All attention will be focused on him.
At the same time, if there is a desire to use floor lamps, then you should stop your attention on those models where you can adjust the position of the light source. Moreover, floor lamps are constantly in fashion, only models change, and their use will enrich the interior of the room. When choosing a lamp, you should pay attention to its design, make sure that it fits into the created interior. After all, the bright, colorful design of a children's lamp is unlikely to look good in a work office. That is, when choosing a lamp, one should not forget about the functional purpose of the room. However, the choice is ultimately up to you, and, of course, everyone can choose a lamp to their liking and mood - from artsy classics to ascetic high-tech. Light is the highest power of the universe, which gives life to all life on Earth! Light that conquers darkness is the initial prototype of our world. Light brings happiness and joy - it is he who brightens up our everyday life. Therefore, in our time, there are many lighting fixtures, I used in the interior of the restaurant:
Ceiling chandeliers are suspended from the ceiling and usually consist of several candlesticks or lamps, usually with decorative fixtures and various elements to diffuse the light. Chandeliers also differ in the way they switch: they can turn on all the lamps at once, or in various combinations. Many modern chandeliers are equipped with a remote control that allows you to switch the lamp operation modes, including smooth mode. An electric chandelier can be equipped with a built-in or external dimmer, and you can also find switches with built-in lighting. Chandeliers Crystal chandeliers are pendant, wall or ceiling lamps in the decor of which elements made of crystal or crystal glass are used.
Incandescent or halogen bulbs are used as light sources. Nowadays, in the manufacture of crystal chandeliers, crystal glass is used (a type of glass with an admixture of lead oxide, which increases the level of light refraction and dispersion of light, as a result, the “play of light” is painted), real crystal is almost never used because of its high cost. Sconce (fr. bras - hand) - an artistically executed lamp attached to the wall. Sconces have become widespread since the 17th century and are part of the decorative decoration of the room, and are also used to illuminate and illuminate houses from the outside.
Purpose:
Highlighting with light some piece of furniture hanging on the wall, such as a mirror, a picture.
Creating a romantic atmosphere. When you turn on the chandelier, the lighting becomes bright and solemn. But if you want to create an intimate or romantic atmosphere, then a sconce will be a must.
Dividing the premises into sections. With the help of sconces and mirrors, you can highlight some areas of one room with light, thus dividing it into several sections.
Decorative decoration.
Spotlights. They emphasize the configuration of the space, make the space weightless and transparent, and also create the most comfortable and uniform lighting.
2.8 Modern finishing materials for the interiors of public buildings
.8.1 Finishing materials for ceilings
The ceiling is a very important element of the interior. Its high-quality finish gives the living space additional comfort and elegance, and the high reflectivity of the ceiling (not necessarily white) allows you to significantly save on electricity spent on lighting the room. Not to mention the fact that modern design options allow you to cope with a whole range of problems that were previously classified as unsolvable. The type of ceiling, its geometric outlines, the color of the surface, the material from which it is made, significantly affect a person's health, his psycho-emotional state. Ceiling - the lower surface of the ceiling. In its decoration, the most different materials. In the GRAAL restaurant, I used the following materials for ceiling decoration: wood, metal, natural stone and mirrors, mineral and polymer plates, paint, fabric, wallpaper. Types of the ceiling of the restaurant "GRAAL": painted, glued, stretch, hemmed, suspended and combined, mirror.
Slatted ceilings
Rice. 2.8.1.1 Fig. 2.8.1.2
They, as a rule, are mounted in rooms of a small area with high humidity or a rather aggressive environment - in plumbing units and kitchens. They are light, durable, environmentally friendly, not afraid of moisture, fireproof. They are also distinguished by frost resistance, so they can also be used in rooms that do not have heating in the cold season. The main element of such a ceiling is a thin steel or aluminum plate 0.5 mm thick, covered with several layers of stoving varnish.
As a rule, they have a width of 10 or 15 cm and a length of 4 m. Slatted ceilings have a very wide range of exterior colors. In addition to traditional colors, they can imitate silver-plated, gold-plated or chrome-plated surfaces, be matte or mirrored, with or without perforation. Ceilings with perforated facing elements are recommended to be used to improve the acoustic qualities - they dampen reverberation, and with a decorative pattern - to improve the architectural and aesthetic qualities of the premises. An additional variety in the appearance of the ceiling can be made by the so-called layout - thin specially profiled decorative strips inserted between the main panels and various lamps (Fig. 2.8.1.1, Fig. 2.8.1.2).
Installation of rack ceilings is simple. Together with decorative plates, a supporting profile is supplied - a comb, which is attached to the main ceiling. The decorative panels themselves are simply "snapped" to the comb - they are inserted into the corresponding clips-clamps. If necessary, they can also be easily dismantled. Slatted ceilings can also be mounted on a suspended system. In this case, special hooks are attached to the ceiling, from which suspensions of adjustable length descend down. Carrier profiles are attached to the suspension and panels are already snapped to them.
Mirror ceilings and other options
Rice. 2.8.1.3 Fig. 2.8.1.3
Among them, mirrored ceilings have recently become more widespread. As with cassette suspended ceilings, their decorative elements are canvases 60x60 cm in size and are mounted on metal raster reinforcement. Estimated price such ceilings - 900-1500 rubles per square meter. Choice of mirrored panels and multicolored layouts on Russian market extremely wide. Another option is a suspended ceiling made of plasterboard sheets on a galvanized steel frame. Such ceilings are used if it is necessary to provide sufficient heat or sound insulation. Unlike all other options for suspended structures, a plasterboard ceiling after installation requires finishing. True, there are special versions of such a ceiling, when a layer of acoustic felt is applied to the gypsum boards from the inside, and a decorative coating from the front. (Fig. 2.8.1.3, Fig. 2.8.1.4). A common design disadvantage of such ceilings is that they are designed for a large room height. The suspended structure "lowers" the ceiling of your apartment by at least 15-20 cm, and this is a lot. If you want the suspended ceiling to defend from the main one at a shorter distance, you will have to come up with your own suspension design. Stretch ceilings A separate design option for horizontal surfaces above your head is stretch ceilings. They are made from sheets of heavy-duty vinyl polymers of a special composition with a thickness of 0.17-0.22 mm directly at manufacturing enterprises according to measurements previously made in each specific room.
According to the developed sketch, a fabric sewn from individual strips of PVC film is cut out exactly according to the dimensions of the room, taking into account all its features, after which the pattern around the perimeter is processed with a special flexible plate (harpon), which is subsequently used when tensioning it. The finished panel is treated with special compounds, folded using interlayer spacers, packed in several layers of heat-insulating film and delivered to the customer.
Installation of stretch ceilings is carried out only by distributors certified for this type of work by the ceiling manufacturer, since this type of work requires not only special equipment and materials, but also professional skills.
Rice. 2.8.1.5Fig. 2.8.1.6
The advantages of stretch ceilings include the high quality of the resulting surface, their moisture resistance, fire safety, high strength (withstand loads up to 100 kg per m2), ease of use (no need for special care), as well as quick installation and long service life (about 15-20 years) with a 10-year warranty provided by manufacturers on the ceiling structure. To this we must add the widest color range, mirror, matte, metallized and translucent options, the ability to create complex three-dimensional structures, which makes stretch ceilings extremely interesting for sophisticated design solutions.
Well, the range of application of stretch ceilings is practically unlimited: from apartments and offices to hotels, swimming pools and concert halls. The disadvantages of stretch ceilings are usually called the fact that they must be carefully protected from contact with sharp objects, and also enough high price. It is higher than for all other ceiling design options, and grows with a decrease in the ceiling area (Fig. 2.8.1.5, Fig. 2.8.1.6). The procedure for installing a stretch ceiling is quite complicated and depends on the characteristics of the room and the fixtures used. Therefore, we will not go into details and only outline the main stages of the simplest version. First of all, a special profile (baguette) made of hard plastic or duralumin is fixed on the walls along the perimeter of the room strictly horizontally and at the same level, for which the harpon of the ceiling is subsequently hooked, and the corners of the room are measured with an accuracy of one degree. The baguette must be securely fastened, since the tension force of the ceiling to separate it from the wall will be approximately 60 kg per linear meter. After that, the ceiling sheet is carefully unfolded, while the temperature in the room should be 40-50 ° C, for which it is specially heated with a heat gun. The deployment procedure is extremely responsible, because at this moment the panel can be easily damaged, and it must be deployed so that all its corners coincide with the corners of the room. Now it's time to install the canvas in a baguette. The pre-polymer fabric is also heated, which makes it extensible. To begin with, the canvas is hooked with a harpon to the baguette in all corners, after which it is fixed around the entire perimeter, achieving its snug fit to the baguette. After the ceiling is stretched, they proceed to the installation of fixtures, each of which has its own characteristics.
Suspended ceiling. And the last option for the design of ceilings, which must be said, is a half-pendant ceiling. It is made of drywall, decorative panels and other sheet materials. They are attached to a wooden or metal frame pre-mounted on the base ceiling. Most materials used for ceilings can be bent, resulting in curved surfaces.
When installing such a ceiling, as well as when installing suspended models, there are no “wet” manual processes. These ceilings are mainly used in rooms with small (1-2 cm) floor irregularities and where there are no communications wiring in the ceiling bosom.
Rice. 2.8.1.7Fig. 2.8.1.8
It should be noted that recessed lights cannot be installed in such ceilings. Unlike all of the above suspended ceilings, this ceiling requires further decorative finishing. A feature of suspended ceilings made of gypsum fiber boards is also their considerable weight: the weight of 1 m 2 of the ceiling ranges from 16 to 19 kg, depending on the method of its attachment to the main ceiling. (Fig. 2.8.1.7, Fig. 2.8.1.8) Well, if you know how to work with wood and you have time, miracle suspended ceiling, including a rather complex profile, can be made from thin plywood at no special cost.
By bending the plywood as you wish, carefully sanding its surface and puttying all the joints and irregularities, painting it in the color you need and installing original fixtures, you can make the ceiling no worse than a stretch one.
Contemporary ceiling paints
Rice. 2.8.1.9Fig. 2.8.1.10
The most common and convenient is to cover the ceiling with water-based paints. Currently, there are a huge number of this type of paints on the market, with different characteristics. The most commonly used in home renovations are acrylic, latex, silicate, and silicone paints.
Let's consider them in more detail.
Acrylic latex paints. The most popular among water-borne paints. According to experts, to obtain a high-quality coating, it is enough to apply only two layers of acrylic latex paint to the surface. At the same time, the coating is sufficiently elastic and is able to cover cracks in the base with a width of up to 1 mm. If it is necessary to create a high-quality, (Fig. 2.8.1.9, Fig. 2.8.1.10) coating resistant to pollution, then the use of acrylic paint is most appropriate. But if the coating has high requirements for vapor permeability (for example, painting buildings with poor waterproofing of foundations), experts recommend using silicate or silicone paints.
silicate paints. They are usually used for painting mineral surfaces, such as mineral plasters, or surfaces previously painted with lime, cement or silicate paint. When using silicate paint, a silicate primer must first be applied to the surface to be painted. Compared to acrylic paints, silicate paints are less flexible and do not cover small cracks in the substrate. Due to the high vapor permeability, silicate paints are often used to paint old buildings, the walls of which are poorly protected from rising groundwater. Silicate paints are suitable for painting walls exposed to moisture from inside the building. Silicate paints have an important property - they do not support the development of microorganisms and therefore do not require the use of antiseptic additives before painting the surface.
Silicone paints. According to experts, they combine the best properties of acrylic and silicate paints. First of all, it concerns vapor permeability, which is about the same for silicone paints as for silicate paints. However, unlike silicate paints, they form a waterproof film that does not cause surface stress on the substrate, which is especially important when painting plastered surfaces. Silicone resins do not soften with increasing temperature. The surface painted with silicone paints is practically not contaminated. Silicone paints are suitable for almost all types of mineral surfaces. They are also highly compatible with both mineral and acrylic latex paints. It is believed that even old silicate coatings can be repainted with silicone paints. Another advantage of silicone paints is elasticity. They can bridge cracks in the base up to 2 mm wide. Silicone coatings do not require the use of antiseptic additives. Working with silicone paints requires almost no precautions, since these paints are not aggressive. Since silicone resins mix well with acrylic copolymers, they are often added to acrylic latex paints to improve the properties of the latter. Perhaps the only drawback of these paints is their high cost.
.8.2 Finishing materials for walls
In the GRAAL restaurant, I used the following materials for wall decoration: Ceramic tiles, decorative plaster, paints, mirror, photo wallpaper (in trading floor No. 1), wall decoration with fabric (in trading floor No. 3). For more details, see Appendix D. Wall decoration with fabric Walls finished with fabric look very solemn and can change the interior of the room beyond recognition (Fig. 2.8.2.1, Fig. 2.8.2.2). The fabric stretched over the walls creates the illusion that it does not adjoin the wall like, for example, wallpaper, but as if exists separately from it. Therefore, the sun's rays, randomly distributed around the room, will not create any glare or halos. Heavy fabrics, while maintaining inconspicuous folds, will create the illusion of drapery, mysteriously hiding something in the depths of the room and at the same time visually increasing it.
A special effect can be created by woven panels, which depict not abstract drawings, but complete plots - landscapes and still lifes. And the stucco on the walls, reminiscent of columns, will help to finally give the room the look of a palace. Wall decoration with fabric is not only beautiful, but also more practical than wallpaper, since the fabric does not get dirty and does not tear from accidental contact with a sharp object.
Moreover, some types of fabrics are able to withstand even the claws of pets. In addition, the fabric is much better than the wallpaper hides defects on the walls, such as cracks. If wallpaper rolls need to be carefully matched to each other so that their color is the same on the entire surface of the wall, then this problem does not arise when working with fabric,
Rice. 2.8.2.1 Fig. 2.8.2.2
Since for wall decoration, as a rule, one canvas is used. Any dirt stain that appears can be easily washed with washing powder and warm water. Fabric is an eco-friendly material, it allows the walls to “breathe”, creating a favorable atmosphere in the room. And an intermediate porous layer of foam rubber or synthetic winterizer will improve sound absorption. The fabric rarely peels off the walls, as only one seam is needed to attach it. Modern technologies for dyeing fabrics will allow them to serve you for a long time, remaining as bright and with a clear pattern. And special impregnation with a special water-repellent composition, for example, Cleangard, will protect them from fading, from swelling when high level humidity in the room, as well as reduce the mass of dust deposited in the room.
Installation firms claim that draping walls with fabric is much less labor-intensive compared to wallpapering. In addition, the fabric can be easily restored with the help of a material of the same color. However, there are some disadvantages in using a fabric coating: for example, its cost is much higher than the wallpaper itself. best quality. (Fig. 2.8.2.3, Fig. 2.8.2.4) Although the cost of the work of a finishing specialist will cost you much less. Some difficulties may arise when choosing glue and when installing switches and sockets.
Rice. 2.8.2.3 Fig. 2.8.2.4
Nevertheless, fabric coatings are becoming more common and popular, and more and more new types of them appear on the market for finishing materials. The main manufacturers of fabric coverings are the French company "Mermet", the Belgian "Bekaert texstiles", the Italian "Arteco", "Argalion", "Gross feirenze", "Frantelli sangiorgio", "Colony" and some others.
Wall painting with your own hands. How to make the interior beautiful and cozy without resorting to the help of professionals. We share professional secrets on how to make a wall painting with your own hands.
