Design project final qualifying work. Sample topics for final qualifying works (interior design). Addresses and details of the parties

This textbook examines the specifics of the final qualifying work for a Master of Design. A wide range of issues related to the preparation of master's degrees is examined, taking into account modern social and professional realities. The student will find in the book up-to-date recommendations regarding the structure, content and methodology for performing research and development work. 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 for the interior of a hotel room.

3. Design project for the interior of the store.

4. Interior design project for an office space.

5. Cafe interior design project.

Sample topics for final qualifying papers (environmental design)

1. Design project for a system of exhibition modules.

2. Design project for a set of park furniture with lighting fixtures.

3. Design project of the courtyard space.

4. Design project of a city square.

5. Design project for a public transport stop.

6. Design project for a children's playground.

7. Development of the subject-spatial environment of the apartment;

8. Development of environmental design of a store (sporting goods; furniture center; flower shop; perfumery; children's shoes, etc.);

9. Interior design project for a public complex (shop, office of a construction company, design studio, hotel complex, spa, beauty salon, cafe, club, etc.)

10. Project solution for the subject-spatial content of the interior (townhouse, apartment, cottage, hotel)

11. Development of interior design and landscaping of the cottage area

12. Conceptual solution for space (store, company, design studio, shopping center, hotel complex, cafe, club, etc.)

13. Landscape development (improvement and landscaping of a suburban area);

Completing a final qualifying thesis, regardless of the nature and scale of the topic, is, in essence, working on a local design project. The main regulating condition in the implementation of the WRC assignment is compliance with the stages of the design process in terms of content and sequence. Not only the methodological consistency of the research and development work, but also, in many ways, the design result depends on compliance with these conditions. The functional, constructive, and aesthetic qualities of an object will be the more perfect, the more rationally the information resources are used, the more accurately and efficiently the design research is carried out, the greater the depth and scale of the design study of the proposed ideas.

The main stages of the design process are: pre-project research, analysis of project issues, development of a conceptual solution, preliminary development 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

Interior design project for the restaurant "GraAl"

INTRODUCTION

Chapter 1. Research on the topic: “Interior design of a restaurant for 200 people”

1 Features of catering establishments

2 History of the development of catering establishments

3 Features of public catering in our time

4 Trends in interior design 2014-15

Chapter 2. Architectural and planning solutions for restaurant interiors

1 Characteristic features of restaurants

1.1 The essence and economic importance of the restaurant industry

1.2 General characteristics of restaurants

1.3 Features in restaurant design

2 Characteristics of the premises of the restaurant "GRAAL"

2.1 Inlet part

2.2 Toilets

2.3 Smoking areas

2.4 Bar counter

2.5 Antechamber

2.6 Trading areas

2.7 Service

2.8 Tableware washing compartment

2.9 Room for storing and ironing table linen

2.10 Production premises

2.11 Household premises

3 Eclectic design style

4 Arrangement of furniture in the interior

5 The importance 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 Review of modern lighting devices 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 Environmental friendliness of the restaurant

9.1 Soundproofing in a restaurant

9.2 Climate control technologies in the restaurant hall

10 Features of the restaurant name

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 REFERENCES USED

APPLICATIONS

INTRODUCTION

Topic of the thesis: Restaurant interior design project.

The purpose of the thesis: develop a restaurant design project.

Object of study: a restaurant that can accommodate 100 guests.

Subject of research: interior of restaurant trading floors.

To achieve the research goal, the following were identified: tasks:

Solution and justification of theoretical issues of the research problem;

Comprehensive study of practice, accumulation of data, analysis and systematization, mathematical processing, identification of typical conditions, shortcomings, omissions, study of best practices;

Justification of a system of measures to solve the problem, development of proposals regarding the use of research results in the practice of relevant institutions and organizations.

Relevance of the study: modern interior design is characterized by various, even outwardly contradictory trends: on the one hand, the desire to maximally saturate the interior space with technical devices, special equipment (air conditioning systems, computer equipment, etc.), on the other hand, “getting closer” to nature, inclusion in interior with natural components (greenery, pools, relief fragments, transparent coatings and walls that open the interior to the natural environment).

The tasks of organizing the internal space and forming 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 on construction always begins with defining goals. It is characteristic that the internal space, capable of ensuring the conduct of life, household and production processes and the creation of comfortable conditions, is directly dependent on the economic and material and technical level of development of society. For example, the degree of ergonomic, aesthetic and design solutions of the space, the norm of usable area, fundamentally change the character of the interior of the premises for catering, namely a restaurant.

This design project proposes the reconstruction of the 1st floor of the premises for the “GRAAL” restaurant. A restaurant is a type of catering establishment in which hot and cold drinks, dairy products, bakery and confectionery products, as well as a variety of dishes in the evening are prepared and sold for on-site consumption to create an environment conducive to the relaxation of visitors. The restaurant can organize concert and variety performances and musical groups. In a restaurant of the highest and first category of visitors, waiters work.

First, you should think about the theme of the restaurant. We need to decide in what style all this should be done. There are plenty of options. They depend solely on the imagination of the customer, the abilities of the designer and, of course, on the status that the restaurant will have. If you want to amaze with exoticism, then you can’t do without popular oriental motifs. Doors are sliding open, 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 Eastern life. Here visitors will be able to escape from all the vain problems of everyday life and immerse themselves in the contemplation of their soul. The restaurant may turn out to be a Chinese pagoda, decorated in the national colors of China: red and gold. Remember the vibrant Chinese carnivals with deeply mystical overtones. Most often, when it’s cloudy outside, you want to find yourself in just such a cozy corner. The restaurant "GRAAL" was created by me in the style of a single eclecticism. The variety of modern materials helped me create a truly indescribable combination. The cold shine of the metal was combined with warm and, conversely, bright, intense colors. I also paid special attention to lighting in the interior. The use of bright light created the feeling of a large open space, while dim lighting helped create an intimate atmosphere. Each restaurant should have tables of different “calibres”: tables for 6-10 people are conveniently located in separate rooms, here you can organize small banquets or meetings of friends; tables for 2-3 seats so that loved ones can chat quietly; You can also provide tables for business communication for four people away from the general noise. At corner tables, chairs can be replaced with cozy sofas with a large number of small pillows.

Often the accent of a restaurant is the bar counter, so it should be given special attention. Most often, this will be the starting point for understanding the entire restaurant interior. It can be decorated in bright colors, have an unusual shape, or simply be illuminated in a special way. But don't get stuck on one style. Time is inexorable - fashion changes, new materials and new designer finds appear. The interior of a restaurant should grow and develop with the times. After all, visitors, no matter how much they love a restaurant, get tired of the 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 interior, which creates an atmosphere close to visitors. We must remember that we eat to live, and do 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 placement of furniture and other equipment in the restaurant interior was studied using the ergonomic method. Using the artistic method, the color scheme and 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 topical topic of designing public catering premises, the goal of this diploma 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 regulatory documents were used, which contain general information on public premises nutrition.

The final qualifying work consists of: introduction, three chapters, conclusion, list of references and conclusion.

Chapter 1. Research on the topic: “Interior design of a restaurant for 200 people”

.1 Features of catering establishments


Public catering is a sphere of production and trading activity in which they produce and sell products of their own production and purchased goods, as a rule, 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 products, flour confectionery products and purchased goods. A public catering enterprise is an establishment (a set of establishments) that is an independent subject of economic activity and has the rights of a legal entity. Types of catering establishments:

restaurants;

cafes, cafeterias;

canteen, including canteens at enterprises and educational institutions

snack bars;

buffets, culinary shops;

kitchen factories, procurement factories.

Classes of restaurants and bars: first, highest, luxury.

The catering enterprise chooses the class independently, taking into account the level of assortment, technical equipment, service (self-service, waiters, combined), aesthetic design, etc.

On the façade of a public catering establishment there must be a sign indicating its type (class), name and operating mode, which, if necessary, is agreed upon with local authorities or the administration of the enterprise that serves this establishment.

Public catering establishments must ensure proper sanitary conditions in accordance with the rules and 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 approved materials. Only today's dishes should be served. The number of dishes according to the menu must be provided throughout the day or the period specified for their implementation (breakfast, lunch, dinner). Catering establishments must have menus and price lists. The range of dishes is approved by management; when manufacturing them, it is necessary to adhere to technological regimes in accordance with the collection of recipes, standards, etc. You can independently develop and approve signature dishes. The use of PPO is mandatory at catering establishments. Measuring equipment must be tested and in good working order.

Taxation is carried out in accordance with the law. Occupational risk class for the payment of accident insurance fees. When trading alcoholic beverages, a fee is paid for the development of viticulture, gardening 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 markups, 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:

workpiece;

production;

implementation;

organization of consumption.

The last process is characteristic only for this type of activity.

At public catering establishments, both production and trade are carried out simultaneously. Expenses, as in trading, are recorded in accounts. On one card account only the cost of used products and raw materials is written off; You can use a separate subaccount instead of the first account.

Large internal movement of valuables, 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 are daily pick-up sheets, which document the release (collection) of goods, raw materials, semi-finished products from the pantry to the kitchen, and the like.

Subaccounts of the “Goods” account:

"Items in the pantry";

Products in the kitchen";

“Products in a bar, canteen, restaurant;

“Products in the confectionery shop”;

“Goods in buffets, kiosks.”

If necessary, third-order subaccounts are opened, for example:

"Bar Products";

"Restaurant Goods"

Specific pricing

The percentage of trade margins is determined as in retail trade, but for all departments (margins in the warehouse, in the kitchen, in the buffet may be different); The markup for public catering is set as a percentage of the retail price excluding 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 our own production are not written off to the warehouse, but are immediately transferred to the sales area, kiosk, etc.; Therefore, accounting does not include the moment of completion of production or release of finished products.

The cost of finished products is determined by drawing up 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. Calculation is usually calculated for 100 servings in standard form calculation cards.

The implementation is documented in the following documents:

payment receipts;

waiter's bills;

invoices;

subscriptions with mandatory registration of sales through PPO or payment books.

When selling outside the sales area, you must have a quality certificate indicating the name of the enterprise, its address, name of the product, date of manufacture, expiration date, conditions of sale and storage, weight of the packaging unit, price per packaging unit or weight of the product.

1.2 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 gentle consumption of labor and creates conditions for eating near the place of work, study and rest.

Bringing the network of public catering enterprises closer to factories, educational and scientific institutions ensures the organization of a rational diet and saves time for rest of workers working at the enterprises.

Producing high-quality food for various population groups, which meets the requirements of nutrition science, is the main task of catering establishments. In general, it should be noted that since fire appeared in people’s lives, cooking 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 it finally turned into exquisite culinary skills, incorporating the achievements of modern science and technology. Culinary recipes for many dishes were created first at home, and then by chefs of rich houses and restaurants. Thinkers of Ancient Rome, Greece and the East wrote about the art of cooking. Especially many cookbooks were published in France in the 18th-19th centuries. court chefs of aristocratic houses (Carem, Escafier, Cremon, etc.).

Many books have been translated into other languages. For a long time, cooking remained a culinary activity, 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 and the Czech Republic. As for Russia and Ukraine, the history of the restaurant business here is not so deep. In addition, famous restaurateurs of the past are Talon, Dumais and others. There was actually foreign copying on domestic soil. The circle of visitors to such establishments was quite narrow, and accordingly, the culture of visiting restaurants did not develop. There were few culinary books and recipes available at that time, especially in Ukraine. In 1779, Ukraine, which was mostly part of Russia, borrowed the original cookbook “Cookbook Kitchen Notes,” the author of which was Iz. Drukovtsev, in which she indicated only the names of Russian national dishes.

Of particular interest was also Lovshin’s “Culinary Dictionary,” published 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 characteristic features of their cuisines, which are sharply different from the cuisines of other peoples of the East and West. The territorial proximity, common life and culture of the Russian and Ukrainian peoples greatly contributed to the convergence 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. Increasing feudal exploitation of peasants, frequent crop failures, unaffordable taxes, heavy redemption payments that peasants had to pay for land, after the “reform” of 1861, put them in difficult material conditions. But the publishing of culinary literature continues.

The “Encyclopedia of Nutrition” for the first time provides physical and chemical justifications for 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 (Nutrition Academies) and rational nutrition enterprises. But in those days, the attempt to scientifically substantiate food preparation was not developed.

On the initiative of the progressive scientist-hygienist F.F. Erisman with the participation of D.V. Kanshina were the first in the world to open a “Normal Food Canteen”. These canteens were staffed by a doctor, and meals in them were organized according to special standards, in compliance with sanitary and hygienic rules. The canteen began to publish the first scientific culinary magazine, “Leaflet of the Normal Canteen,” which later became known as “Our Food.” Despite its great popularity, the “Normal Food Canteen” lasted only four years and was closed. Cooking has long remained a culinary activity, the art of individuals. The scientific basis had not been developed, there was no technical basis. During the period of capitalist development, the nutrition of the Ukrainian people worsened even more. Under these conditions, Ukrainian folk cuisine could not fully preserve its completeness and diversity. In the second half of the 19th century. In large cities, restaurants, canteens, and cafes began to open for the wealthiest segments of the population, where French chefs were invited to work, who brought with them the recipes and technology for preparing Western European dishes and arbitrarily changed the technology for preparing Ukrainian dishes. Rich landowners and capitalists even began to invite French chefs for home cooking.

The further development of the art of cooking allowed us 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 collective farms.

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 industry as a result of the introduction of semi-finished products in canteens, restaurants, cafes and snack bars. This resolution attached great importance to public catering and proposed a number of measures aimed at improving its quality.

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 sector of the national economy, is closely connected with the development of the entire economy of a socialist state and the solution of significant social problems. Over time, work, school and student nutrition has become stronger and improved in our country. The services of set meals, food delivery to workplaces, subscription payment systems, mechanized lines for distributing set meals, etc. were universally approved. The nutrition of people working on evening and night shifts has improved. Particular attention was paid to rational nutrition and the introduction of set meals prepared on a scientific basis. Food rations, services, and the “hospitality industry” were developed.

This industry is focused primarily on the consumer and his needs. Hospitality is one of the fundamental concepts of civilization. For a long time now, in developed countries of the world, it has become a profitable industry that employs many millions of professionals. The “hospitality industry” is focused primarily on the consumer (client, guest), whose needs are the end result of the business activity of the enterprise.

The professional glossary of the “hospitality industry” of recent years pushes out words such as “Customer”, “Client” (consumer, client) from everyday use and replaces them with “Guest” (guest). Thus, even from a linguistic perspective, not to mention professional activity, there is a trend of changes in 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 nutritional needs 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 catering establishments has its own history, which depends on the type of establishment (cafe, bar or restaurant). Such establishments in large cities can form entire complexes that are united on the basis of certain characteristics: the homogeneity of products and raw materials that are 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 its 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 important 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 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 to have a cook come to cook food at home. There are some descriptions of former taverns. A traveler passing through Paris in 1718 spoke about these establishments as follows: “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 properly there. The regulars sit closer to the center of the table and tell fresh jokes 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 contact the servant - the table will be empty even before the person begins to eat.”

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, an establishment that served broths, soups, meat and egg dishes was called a restaurant. But, most importantly, they already had individual “a la carte” service. The owner of such a restaurant was Boulanger, who opened his establishment in 1765. The next major breakthrough dates back to 1786, as that year the first luxury restaurant based on an English tavern was opened in the Palais Royal. The owner of this tavern was Antoine Beauvilliers, who previously worked as a chef for the Count of Provence. Beauvillier 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 prepare food and receive visitors until 11 pm in the winter, and until 12 pm in the summer. 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, and introduced variety to the menu with the involvement of cuisines from other nations of the world. And soon restaurants grew into a separate industry, so familiar to us today. This is an establishment where you can have a good rest and, most importantly, eat delicious food, which is what modern restaurants provide for visitors.

.3 Features of public catering in our time


Nutrition is one of the basic vital conditions for human existence. Human health, performance and mood, normal development largely depend on nutrition. The quantity, quality, range of food products consumed, timeliness and regularity of food intake are important for the life of the body. “A good, kind cook is worth a doctor,” says the popular proverb. These words emphasize the close connection between deliciously prepared varied foods 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 accumulated over many centuries, and has now been embodied in public catering and has a certain financial aspect to 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 set of certain features of the traditional everyday culture of an ethnic group: a set of food products, methods of processing and preparing dishes, food restrictions, prohibitions and advantages, a daily diet, an assortment of ritual dishes, customs associated with the preparation and consumption of food.

The nature of innovations in modern nutrition concerns, first of all, the level of consumption, increasing calorie content, expanding the range of dishes through interethnic and other contacts, the introduction of small household appliances, gasification and electrification. In recent decades, public catering has played an important role both in the city and in the countryside. Despite all the shortcomings of this system, which, in particular, are manifested in the standardization of food, it greatly contributes to consolidation in everyday life.

.4 Interior design trends 2016


The outside world is becoming more and more fast and aggressive; a modern person can only find peace in a cozy interior. This year the emphasis is precisely on presenting the home of a modern person as a refuge from the bustle of the streets. Interior designers face an interesting challenge - to combine homeliness with elegance. When arranging their home, the current buyer has become more attentive to the choice of interior items, as well as taking a closer look at their price.

This is what world-famous designers are offering in 2016. All the colors of the rainbow will be in fashion, and the most popular colors will be Fuchsia Red, Vibrant Green, Lavender, Pink Dust, Palace Blue and Salmon Pink. Also, the classic neutral gray color will not lose its popularity, allowing you to focus attention 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 construction of a house or cottage, deep shades of blue, as well as warm biscuit and spicy colors combined with gold and green shades, which will create coziness and warmth in the house. Another fashion trend will be the predominance of bright yellow and shades from sunny to mustard in the interior.

1. More light!

Rice. 1.4.1




Next year, it will become fashionable to paint rooms in the construction of houses and cottages or when carrying out major renovations in bright, saturated colors completely, without emphasizing individual elements, so industrial designers suggest paying attention to the lighting of your shelter home. This is the reason for the appearance of lamps with more lamps than before, and the lamps themselves will become brighter.

2. Experiment with photo wallpapers!



Rice. 1.4.3




Rice. 1.4.4


In 2016, photo wallpapers will not lose their former popularity. Many famous companies are preparing to release new collections featuring birch, bamboo, futuristic graphic patterns, etc. (Fig. 1.4.3). Photo wallpapers are a fairly inexpensive way to change your appearance and also express yourself by ordering wallpaper depicting your personal photographs or works of your favorite artists (Fig. 1.4.4). Therefore, for the coziness 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 home with comfortable and elegant furniture. To recover after a hard day at work, relax and unwind, that’s what the home owner wants. Therefore, one of the fashion trends will be functional and easy-to-care furniture, as well as chic but calm interior items.

All wood or wood-look finishes will be popular in 2016. The 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 model from a construction company, do not forget about this fashionable and chic trend.

The shine of metal will not fade in 2016. Shades such as rose gold, rose copper, dark silver, platinum will be used to create metallic elements in interior design. The energy and shine of the metal will make you feel like you are in a wonderful future. 8. Feel like a star! Interior designers presented a gift to bohemians in 2016, introducing the Hollywood Regency style into fashion. An eclectic mixture of neoclassicism, 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 home design for a Hollywood star. This fashion trend is aimed at people who love symmetry, grace and bright colors.

In 2016, designers will borrow colors, style and materials from Mother Nature. All shades of green, brown, blue, yellow, and wooden elements will help you create your own corner of nature in your home. Cozy accessories such as floor lamps, wicker rugs, and your children’s handicrafts will be a worthy decoration for such a natural interior.

The use of natural materials such as mats, bamboo wallpaper, cork floor coverings 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 and conserving natural resources is becoming not only fashionable, but also vital. Guided by 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 restaurant interior design solution lies in the correct layout of the space


Each establishment 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 restaurant design creates 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 welcoming and comfortable for visitors






All decorative elements should work in the same direction: the interior design of the restaurant creates the atmosphere, the lighting emphasizes it, the uniform 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 the bar, the appropriate lighting of which favorably emphasizes the stylistic features of the interior. In addition, good lighting makes people more attractive and promotes positive communication. When immersed in the restaurant design, people should feel relaxed, and the atmosphere should be conducive to relaxation. Therefore, you need to avoid bright bursts of design thought, 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 indoors to indoors and outdoors. It is not aesthetically pleasing if the visitor can see 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 discord with the internal concept of the room.

.1.1 The essence and economic importance of the restaurant industry

It plays an important role and acquires specific features, which allows us to consider the restaurant industry in resort and tourist centers as a component of the tourism industry. A characteristic feature of serving tourists in hotels is providing them with a full range of services (breakfast, lunch, dinner). There are two main ways to satisfy demand - for organized and individual tourists. Organized vacationers are known to pay money for meals in advance when they buy a tour. However, the expenses of organized vacationers are not limited to purchasing a voucher. They additionally buy fruits, ice cream, drinks, etc. Satisfying these needs is greatly facilitated by the extensive network of restaurant enterprises and the level and quality of service.

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 lap of nature and in the car, purchasing semi-finished products of maximum readiness, etc.

Restaurant enterprises in hotels help attract a share of the income of tourists from different regions. Thus, there is a transfusion of purchasing funds from one region to another, from one country to another. In addition, meeting needs outside the permanent place of residence transforms the expenditures of the population's purchasing funds, in particular, expenditures on the purchase of goods are replaced by expenditures on services. And this helps to mobilize the population’s free funds. The restaurant industry creates conditions for achieving public goals of tourism development. People from different countries meet and get to know each other in restaurants; a favorable environment for mutual understanding, useful business contacts, and the development of social and cultural life is created here. 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 fairly favorable terms in that 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 quality of construction, the level of equipment and equipment, and the variety of its types significantly determine the degree of comprehensive service and satisfaction of the needs of tourists in different tourist areas of the country.

.1.2 General characteristics of restaurants

A restaurant is a catering establishment where, along with meals, guests are provided with recreation services (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, perfect serving of dishes and drinks, appropriate organization of service and recreation. Depending on how well the restaurant meets the above requirements, it is assigned the following categories: luxury, highest, 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 (room), which is a visually limited, artificially created environment that provides normal conditions for human life. This is a complex, multifaceted phenomenon that can produce a huge aesthetic and psychophysiological impact on a person. Favorable conditions for people in restaurants are ensured by creating comfort both in the restaurant itself and in the area adjacent to it. The overall comfort of the restaurant's interior space is an integral concept. It includes the environmental, functional and aesthetic comfort of the environment of any restaurant premises.

Environmental comfort is created by an optimal combination of temperature, humidity, air speed and exposure to radiant heat 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 air speed 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 (exposure to sunlight and natural lighting).

The duration of insolation for many restaurant premises, according to sanitary standards and regulations, must be at least three hours a day. In hotel premises, where people spend most of the day, there should always be clean and fresh air and normal noise levels. Functional comfort determines the ease of use of any room (Fig. 2.1.3.1). It provides protection from the environment, safety and the implementation of all functional processes of human life.

The separation of all human life processes in the premises is carried out using functional zoning techniques as the general space of a restaurant with the allocation of functional blocks. Microzoning is also carried out through a rational selection of equipment and its optimal placement in any interior.

Aesthetic comfort predetermines a person’s positive emotional mood. This is ensured thanks to the means and techniques by which the integration of all interior elements into a single perceptible whole is achieved. The aesthetic comfort of the interior depends, first of all, on the harmony of the object-spatial environment, on the extent to which the integrity and consistency of its elements has been achieved. The aesthetic organization of the environment, or achieving the beauty of the interior, includes many different tasks. The main ones are the composition of space, color scheme and surface finishing, economic (design) form of equipment and furniture, solution of decorative details, lighting, landscaping, etc. (Fig. 2.1.3.2)

Thus, the interior of any restaurant premises should have environmental, functional and aesthetic comfort, which I paid great attention to when developing the design of the “GRAL” restaurant.






Rice. 2.1.3.2


Environmental comfort in interiors is created mainly thanks to the engineering systems of restaurants: ventilation, air conditioning, centralized dust removal, heating, and the like. Functional comfort is mainly ensured 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"


Let's look at the most important components.

They are as follows:

Entrance part

Toilets

Smoking room

Antechamber. Trading room

Service room

Dishwasher compartment

Room for ironing table linen

Room for storing table linen

Production premises

Household premises

.2.1 Inlet part

The facade of the GRAAL restaurant is, first of all, advertising. Its appearance meets the architectural requirements of the building and attracts the attention of visitors, has a neat and rich appearance. A light canopy over the entrance is an element of care for the guest. It helps maintain cleanliness in the enterprise, since in rainy or snowy weather it allows visitors to dust off their umbrellas and tidy up their shoes. A necessary element of entry culture is good lighting, a bright and expressive advertising sign about the opening hours.

The entrance part of the restaurant is equipped with sanitary 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 sidewalk is lined with material that is easy to clean and maintains a neat appearance throughout the day.

.2.2 Toilets

The planning of these premises in a restaurant includes a toilet room, entrance vestibules, toilet rooms in which a washbasin is located, that is, each of the rooms is fully equipped for a personal toilet. The vestibules are intended as a barrier for functional rooms when exiting them. The toilet room is used to serve visitors with hygiene products and store cleaning equipment. In the toilet rooms, the exemplary sanitary condition of the toilets is constantly maintained, soap, towels, napkins are provided to guests, and the premises are disinfected and deodorized. 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 GRAAL restaurant, all areas are provided with intensive ventilation; waiters place ashtrays on the tables.

There is also room No. 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. This is the starting point for understanding the entire restaurant interior. The market offers a large selection of bar counters made of various materials - plastic, wood, stone and many others. But I decided to design it for the restaurant myself, following all the rules regarding their developments.

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 this is the bartender’s workplace and a place where the visitor should be comfortable, where the functionality and convenience of the bar counter play an equally important role in the design , as well as its compliance with the style of the room.

The following materials were used to produce the bar counter of the “GRAAL” restaurant: 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 establishment.

The height of the bar counter in the restaurant is 110 cm. It is a separate structure, emphasized by lighting, created to attract attention, and forms a harmonious ensemble with the ceilings, walls and the rest of the restaurant furniture. The counter consists of three main elements: a bar module, a wall module and an illuminated canopy. The bar module, in turn, is divided into a work and guest tabletop, a front part, as well as work drawers and compartments for built-in appliances. The wall-mounted module consists of two compartments: in the upper one, drinks are displayed (this is information for visitors about the range of the bar and the decoration of the hall), in the lower cabinets there is built-in equipment, and dishes are stored in them. Lighting is installed in the canopy.


2.2.5 Antechamber

This area is important 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 the antechamber at the expense of part of the trading floor. I placed the antechamber at the entrance to the restaurant, equipped it with a soft sofa and floor lamps. The minutes of waiting do not seem long, because the music is light and pleasant. To reduce noise, the floor was covered with a soft covering.

.2.6 Trading areas

The restaurant's sales areas are divided into general purpose and banquet rooms according to their purpose. 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 range of visitors.

A special hall (banquet) is intended to receive a small number of guests for a specific occasion. Feast halls in the GRAAL restaurant: two No. 1, 4, made in the same style, with the same menu, methods of serving dishes and drinks. Cabins for 6-8 guests were also designed, who, for example, would like to have some privacy.

When creating a restaurant interior design project, the following were created: artistic value of the interior, comfortable furniture, favorable seating layout, effective ventilation, pleasant lighting of the sales area, high-quality table setting, high-quality advertising products, proper serving of food and drinks. The interior of the restaurant is decorated with valuable materials (valuable tree species, highly artistic finishing elements: carving, forging, etc.). It has stylistic unity. For lighting, various lighting lamps were used, which provide the ability to regulate the light intensity. To create lighting effects, directional lighting lamps, colored lamps and shades, and wall sconces were used.

.2.7 Service area

The service room is one of the most important auxiliary services in the sales area of ​​the GRAAL restaurant. She ensures the constant availability of the required assortment of dishes, controls losses, issues and receives all serving items, organizes accounting and write-offs, and issues an exchange fund to the dishwashing department.

Proper organization of storage of utensils is of great importance for extending the life of use and reducing losses from combat. All glassware is conveniently stored in plastic containers measuring 400x600x180 mm. They are also convenient for storing all chinaware except plates and plates. The possibility of stacking containers allows you to have all the necessary range of dishes and accessories in a small service area.

Organizing the issuance and reception of dishes is an important element of the service work. Before starting work, waiters submit a written request for the necessary dishes and serving items. The application indicates the name and quantity of items, date of receipt, waiter's name and personal signature. After delivery, the dish counter records the number of items handed over in the “handed over” column. The “shortage” column indicates the number of missing items. The reasons for the shortage are immediately clarified and measures are taken to compensate for it. If there are broken dishes, an act of the established form is drawn up, according to which it is written off daily.

.2.8 Tableware washing compartment

The process of washing tableware in the GRAAL restaurant 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 utensils.

The following equipment is installed in the dishwashing compartment:

washing baths - 7 pcs.;

table-counter for used dishes;

table-counter for issuing clean dishes;

table with a bin for collecting food waste and garbage;

industrial tables for dishwashers;

wall-mounted plate dryers;

electric dryers for drying towels;

cabinet for storing detergents and disinfectants, cleaning equipment; first aid kit.

Organization of the work of the dishwashing department: Before starting work, one of the dishwashers receives an exchange fund of porcelain, glass, metal dishes, as well as accessories, from 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. This order of work completely eliminates unproductive time spent by waiters on exchanging dishes, promotes rhythmic work, speeds up customer service, and reduces losses of dishes.

2.2.9 Room for storing and ironing table linen

The restaurant "GRAAL" provides a high level of service. A necessary condition for sanitation and hygiene in a restaurant is the separate storage of clean and used linen. For this purpose, various compartments are provided in the room for storing table linen. 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 ease of counting, tablecloths are folded in piles of 10 pieces, napkins in piles of 50 pieces. Ironing is carried out in a separate compartment for clean linen using electric ironing rollers or manually. Tablecloths, ready for delivery to the hall, are best 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 used linen collection and clean linen delivery as needed.

.2.10 Production premises

Production premises include shops: cold appetizers, hot shop, meat and fish semi-finished products, vegetable, confectionery, sweet dishes. If it is impossible to organize workshops, they will equip the corresponding departments, which is what I designed in this restaurant project. Ready-made meals are served here through the cold and hot appetizer department. 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 achieve this, a warmer for plates and plates is installed at the dispensing point, and tables with cooling counters are installed in the cold appetizers department. Spacious and convenient distribution points greatly facilitate the cook’s work and speed up the process of receiving food.

2.2.11 Household premises

The household premises included a wardrobe for cooks, waiters, a relaxation room, a shower room and a toilet room. Individual closets are installed for service personnel, where uniforms are stored during non-working hours. Sewing and repair of clothing is carried out at the expense of the enterprise. In the rest room there is a table for staff to eat.

.3 Design style Eclectic (ecclectic)


Eclecticism, also eclecticism (Greek εκλεκτός, “chosen, selected”, from the Greek εκλέγω, “to choose, select, elect”) is a mixture, a combination of dissimilar 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 allows for the use of mixed styles or a combination of objects of 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, and architectural design (Fig. 2.3.1).






Rice. 2.3.2


This direction of style, or better yet, the absence as such, usually flourishes at times when one style has already “developed” itself, and another has not yet appeared (Fig. 2.3.2). We can say that the present, the end of the 20th - beginning of the 21st century, is the time of Eclecticism.

Anything 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 previously fashionable styles had accumulated in past centuries was reflected in Eclecticism, which was able to organically incorporate 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 processed textile fragments.

In modifications, Eclecticism requires subordination to a certain color, its various shades, although the decorative elements themselves may correspond to different style 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). Many spirals and curls create the impression of movement in time - this is the Eclectic style.

.4 Arrangement of furniture in the interior


Modern furniture, according to the nature of its structural structure, is divided into stationary, combined multifunctional (when one item performs two or more functions) and those that can be transformed (including sectional). (Fig. 2.4.1) Requirements for furniture are established in accordance with 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 for gaps and passages between pieces of furniture must be taken into account. (Fig. 2.4.2)




Rice. 2.4.1Fig. 2.4.2


The arrangement of furniture in the sales area 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 passages. The width of the main aisles ranges from 1.5-2 m in restaurants, and 1.0-1.2 m in cafes and bars.

Additional aisles are needed to distribute the flow of guests. 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 place 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 room. 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. Cafes and bars use wall-mounted and semicircular sofas, with tables also placed near them. Between groups of tables, 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 some of the tables or, if they are mobile, at the sideboards. For ease of use and to maintain the appropriate temperature of the drinks being served, refrigerated sideboards, refrigerated cabinets, and refrigerated display cabinets are installed. Every day, the head waiter distributes service areas between waiters and thus creates equal working conditions for all team members.

.5 The importance of color in creating interior design


Of particular importance for interior design of catering establishments is solving the problem of color and lighting. Color and light should be subordinated to the customer service process. While in the restaurant hall, customers will experience the influence of color. It has been scientifically proven that color significantly affects a person’s emotional state, his mood, well-being and performance. Obviously, the influence can be favorable or negative. The color scheme should be carefully thought out to create an atmosphere of coziness, comfort, safety and tranquility in the service rooms. How can we determine what harmony and beauty are 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, its benefit to a person. Excessive use of color to attract attention often leads to pettiness or absurd consequences. In design practice, 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, and the purpose of the objects.

Our emotional attitude towards technical objects is significantly connected precisely with how their color composition is solved, and to what extent it corresponds to the characteristics of function and form. Color in modern technology is not only an active means of composition, but also a significant factor of quality. The color should not be “thought out” later, the color should be chosen consciously in order to use it as a development of the idea of ​​the composition. Already at the first sketch stages it is necessary to build a composition with color and tone. Color is closely related to proportions and scale; it helps to identify static or dynamic.

Problems solved using color can be divided into three groups:

Color as a factor of psychophysiological comfort (a set of conveniences that a person receives when using things): optimal lighting, painting the room in optimal colors, avoiding unfavorable working conditions or climate;

Color as a factor of emotional and aesthetic impact;

Color in the visual information system. If we touch on the design of things in general, we can trace a number of certain patterns of perception, for example: glossy curved surfaces appear darker due to strong contrasts of highlights and shadows; on matte surfaces the strength of the contrast is reduced. Thus, creating a subject environment harmonious in color is possible only by visualizing 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 indoors is much stronger than outside: oversaturation with color, as well as color starvation, is especially felt in the interior. Color in rooms can promote or hinder functional processes. Its choice is determined by many reasons, and the psychophysiological 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 characteristics, and the degree of lighting.

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, blue and green colors have been found to evoke the impression of limitlessness. Blue color relieves anxiety, eliminates insomnia, and dispels obsessive thoughts. Green dilates capillaries and calms. Blue color reduces heart rate and muscle tension.

Cold shades (this fact has been proven in special studies) cause a reduction in the heart rate 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 evokes joy. Red increases heart rate and blood pressure, excites and stimulates the brain. Very dark tones in large quantities have an adverse effect on humans. Sadness and negative emotions paralyze voluntary movements and contribute to feelings of tiredness and tiredness. When deciding what color scheme the interior will be in, it is important to take into account the size and lighting of the room. For a large restaurant hall, you can use rich colors, but in a small banquet hall this option is not practical. The lack of space can be compensated for (that is, illusorily expanded) by using cold shades, and a large room can be given coziness and a feeling of security by using warm shades of color. It is also important to note the use of compositional principles.

Thus, a color scheme based on contrasts is a little confusing and increases vitality. A composition built on subtle nuances helps maintain an atmosphere of calm, relaxation and evokes pleasant thoughts. Restaurant interior design is a different matter. How are they different from the other? And almost everyone, since behind a beautiful interior there must be a well-thought-out customer service system. Lots of different little amenities for both customers and staff. Such as places for dishes, placement of equipment, its connection, ventilation and much more. In the interior design of the restaurant I used the Eclectic style.

style design interior restaurant

2.7 Review of modern lighting devices for public buildings and their classification


In the last decade, a trend towards maximum humanization of the living environment of modern man has emerged. At work, on the street, in transport, at home, on vacation and in other places of stay - we are accompanied everywhere by artificial lighting; it is an integral component of the human living environment, because we receive about 80% of information through the organs of vision. A real confirmation of this is the large number of different lighting installations that surround us. The main components of any lighting system are the light source and the lighting fixture. They and their parameters generally determine the efficiency of the lighting installation. The most important factor that, along with the color scheme of the interior, determines comfortable service conditions in food establishments is the correct organization of lighting. Natural light can affect people's mood. The same thing happens with artificial light. Poor lighting can make you feel depressed.

Some designers argue: 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 are so advanced that it is possible to satisfy the tastes and needs of any client. When choosing a source of artificial light, you should proceed from how well it harmonizes in style and color with the interior. We should also not forget about its functionality, that is, it provides enough light, pleasant light for the eyes. I successfully selected and wisely positioned the light sources, which created an atmosphere of comfort and made the guests’ stay in the “GRAAL” restaurant comfortable (see Appendix B).

The nature of light is such that when used correctly, 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 for a room to be cozy and comfortable, it must have at least three sources of artificial light. Moreover, it is advisable to use all types of lighting (background lighting - general, task, accent - decorative). The overall composition of light will be successful if the lamps are located at different levels, have different light intensities, and the lighting can be varied depending on the situation. For example, in a restaurant or 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 that 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 a restaurant hall. For example, by illuminating it in various ways, you can “move apart” the walls, break up 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 placed evenly in a row behind the cornice along the wall. When they turn on, the ceiling seems to come off the walls and seems higher.

Particular attention should be paid to the organization of outdoor lighting, which helps attract visitors. Exterior lighting of the building itself, signage 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 a big role in our life. However, just light is not enough to create comfort. A big role is played by where and what kind of light falls, how it pours. Ordinary, traditional lighting is widely known - it is a chandelier, floor lamps or sconces fixed in the center of the ceiling of the room, which provide a static direction of light. Today suggests a departure from this rule and the main trends are the variety 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, a chandelier is mounted exactly in the place where it is most needed, for example, above a sitting area or kitchen table. An interesting option for lighting technology is the use of spherical, spherical lamps mounted on the ceiling. Most often, such lamps are opaque. This makes it possible to diffuse the light, preventing glare and illuminating the entire room. Using this option will create lighting that is not irritating to the eye, will fill the room with soft shadows, and the light will be evenly distributed throughout the entire space of the room, reflecting from the surfaces of the room.

The use of local or decorative lighting will complement the light interior of the room. In this case, an option is possible, for example, in a study or bedroom, when general lighting is by and large not needed, and here local lighting will play a positive role. The use of sconces, spotlights, and floor lamps will highlight a specific interior object. All attention will be focused on him.

At the same time, if you want to use floor lamps, then you should focus on those models where you can adjust the position of the light source. Moreover, floor lamps are constantly in fashion, only the 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 yours, and, undoubtedly, everyone can choose a lamp to suit their liking and mood - from pretentious classics to ascetic high-tech. Light is the highest power of the universe, which gives life to all life on Earth! The light that conquers darkness is the initial prototype of our world. Light brings happiness and joy - it is it that brightens up our everyday life. Therefore, nowadays, 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 fittings and various elements to diffuse the light. Chandeliers also differ in the switching method: all lamps can be turned on at once, or in various combinations. Many modern chandeliers are equipped with a remote control, which allows you to switch operating modes of the lamp, 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 light dispersion, resulting in a “play of light”), real crystal is almost never used because of its high cost. Sconce (French bras - hand) is 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 for illumination and illumination of houses outside.

Purpose:

Highlighting with light some interior item hanging on the wall, such as a mirror or a painting.

Creating a romantic atmosphere. When the chandelier is turned on, 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 areas.

Decorative decoration.

Spot lamps. 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 finishing gives living spaces additional comfort and elegance, and the high reflectivity of the ceiling covering (not necessarily white) allows you to significantly save on energy spent on lighting the room. Not to mention the fact that modern design options make it possible to cope with a whole range of problems that were previously classified as insoluble. The type of ceiling, its geometric shape, the color of the surface, the material from which it is made, significantly influence a person’s health and his psycho-emotional state. The ceiling is the lower surface of the ceiling. A variety of materials are used in its decoration. In the GRAAL restaurant I used the following materials to decorate the ceiling: wood, metal, natural stone and mirrors, mineral and polymer boards, paint, fabric, wallpaper. Types of ceilings in the “GRAAL” restaurant: painted, glued, tensioned, hemmed, suspended and combined, mirrored.

Slat ceilings



Rice. 2.8.1.1 Fig. 2.8.1.2


They are usually installed in small rooms with high humidity or a fairly aggressive environment - in plumbing units and kitchens. They are light, durable, environmentally friendly, not afraid of moisture, and fireproof. They are also distinguished by their frost resistance, so they can be used in rooms that do not have heating during the cold season. The main element of such a ceiling is a thin steel or aluminum plate 0.5 mm thick, coated with several layers of hot-drying varnish.

As a rule, they have a width of 10 or 15 cm and a length of 4 m. Slat ceilings have a very wide range of colors for the exterior finish. In addition to traditional colors, they can imitate silver-plated, gold-plated or chrome-plated surfaces, be matte or mirrored, with or without perforations. Ceilings with perforated cladding elements are recommended to be used to improve acoustic qualities - they dampen reverberation, and with decorative patterns - to improve the architectural and aesthetic qualities of rooms. Additional variety in the appearance of the ceiling can be introduced by the so-called layout - thin specially profiled decorative slats inserted between the main panels and various lamps (Fig. 2.8.1.1, Fig. 2.8.1.2).

Installation of slatted ceilings is simple. Together with the decorative slabs, a supporting profile is supplied - a comb, which is attached to the main ceiling. The decorative panels themselves are simply “snapped” to the comb - inserted into the corresponding 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 pendants of adjustable length descend down. The supporting profiles are attached to the suspension and the panels are 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 increasingly widespread. Just like cassette suspended ceilings, their decorative elements are canvases measuring 60x60 cm and are mounted on metal raster fittings. The approximate price of such ceilings is 900-1500 rubles per square meter. The choice of mirror panels and multi-colored layouts on the Russian market is 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 requires finishing after installation. True, there are special versions of such a ceiling, when a layer of acoustic felt is applied to the plasterboard slabs on the inside, and a decorative coating is applied on the front side. (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 need the suspended ceiling to stand at a shorter distance from the main one, you will have to come up with your own suspension design. Stretch ceilings A separate option for designing 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 plants according to measurements previously taken in each specific room.

According to the developed sketch, the fabric sewn from individual strips of PVC film is cut out exactly to the size of the room, taking into account all its features, after which the pattern along the perimeter is processed with a special flexible plate (harpon), which is subsequently used to tension it. The finished panel is treated with special compounds, folded using interlayer spacers, packaged in several layers of heat-insulating film and delivered to the customer.

Installation of suspended ceilings is carried out only by distributor companies certified to perform 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 suspended ceilings include the high quality of the resulting surface, their moisture resistance, fire safety, high strength (withstand loads of up to 100 kg per m2), ease of use (no need for special care), as well as speed of installation and long service life (about 15-20 years) with a 10-year warranty provided by manufacturers on ceiling structures. To this we must add a wide range of colors, mirror, matte, metallized and translucent options, the ability to create complex volumetric structures, which makes suspended ceilings extremely interesting for sophisticated design solutions.

Well, the range of application of suspended ceilings is almost unlimited: from apartments and offices to hotels, swimming pools and concert halls. The disadvantages of suspended ceilings are usually the fact that they must be carefully protected from contact with sharp objects, as well as a fairly high price. It is higher than all other ceiling design options, and increases with decreasing ceiling area (Fig. 2.8.1.5, Fig. 2.8.1.6). The installation procedure for a stretch ceiling is quite complex and depends on the characteristics of the room and the lamps used. Therefore, we will not go into details and will only outline the main stages of the simplest option. First of all, on the walls along the perimeter of the room, a special profile (baguette) made of hard plastic or duralumin is fixed strictly horizontally and at the same level, to which the ceiling sheet 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 lift it from the wall will be approximately 60 kg per linear meter. After this, the ceiling sheet is carefully unfolded, and the temperature in the room should be 40-50 o C, for which it is specially heated with a heat gun. The deployment procedure is extremely important, 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 into the baguette. The pre-polymer fabric is also heated, which makes it stretchable. To begin with, the canvas is hooked onto the baguette in all corners, after which it is fastened along the entire perimeter, ensuring its tight fit to the baguette. After the ceiling is stretched, they proceed to the installation of lamps, each of which has its own characteristics.

Suspended ceiling. And the last ceiling design option that needs to be mentioned is the half-floating ceiling. It is made from plasterboard, 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, which allows you to obtain 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) uneven ceilings and where there are no communication lines in the ceiling cavity.



Rice. 2.8.1.7Fig. 2.8.1.8


It should be taken into account that built-in lamps cannot be installed in such ceilings. Unlike all the suspended ceilings listed above, this ceiling requires subsequent decorative finishing. A feature of suspended ceilings made of gypsum fiber boards is also their considerable weight: the weight of 1 m2 of 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, a miracle suspended ceiling, including a rather complex profile, can be made from thin plywood without much expense.

By bending the plywood as you wish, carefully sanding its surface and filling all the joints and irregularities, painting it in the color you want and installing original lamps, you can make the ceiling no worse than a suspended ceiling.

Modern ceiling paints



Rice. 2.8.1.9Fig. 2.8.1.10

The most common and convenient way is to cover the ceiling with water-based paints. Currently, there is a huge amount of this type of paint on the market, with different characteristics. The most commonly used paints for home renovations are acrylic, latex, silicate, and silicone paints.

Let's take a closer look at them.

Acrylic latex paints. The most popular among waterborne 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. In this case, the coating turns out to be quite elastic and is capable of bridging cracks in the base up to 1 mm wide. If it is necessary to create a high-quality (Fig. 2.8.1.9, Fig. 2.8.1.10) coating that is resistant to contamination, then the use of acrylic paint is most appropriate. But if high requirements for vapor permeability are imposed on the coating (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, for example, mineral plasters, or surfaces previously painted with lime, cement or silicate paint. When using silicate paint, you must first apply a silicate primer to the surface to be painted. Compared to acrylic paints, silicate paints are less elastic and do not cover small cracks in the base. Due to their high vapor permeability, silicate paints are often used to paint old buildings whose walls 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, this concerns vapor permeability, which for silicone paints is approximately the same 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 when temperature increases. The surface painted with silicone paints is practically not dirty. 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 virtually 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 sales area No. 1), wall decoration with fabric (in sales area No. 3). For more details, see Appendix D. Wall decoration with fabric Walls decorated with fabric look very solemn and can change the interior of a room beyond recognition (Fig. 2.8.2.1, Fig. 2.8.2.2). Fabric stretched over the walls creates the illusion that it is not adjacent to the wall, like wallpaper, for example, but as if it exists separately from it. Therefore, the sun's rays, randomly distributed throughout the room, will not create any glare or halos. Heavy fabrics, while maintaining invisible folds, will create the illusion of drapery, mysteriously hiding something in the depths of the room and at the same time visually enlarging it.

A special effect can be created by woven panels that depict not abstract drawings, but complete scenes - landscapes and still lifes. And the stucco molding on the walls, reminiscent of columns, will help to finally give the room the appearance of a palace. Decorating walls 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 touch with a sharp object.

Moreover, some types of fabrics can even withstand the claws of pets. In addition, fabric hides defects on the walls, such as cracks, much better than wallpaper. If rolls of wallpaper need to be carefully matched to each other so that their color is the same over the entire surface of the wall, then when working with fabric this problem does not arise,




Rice. 2.8.2.1 Fig. 2.8.2.2


Since, as a rule, one canvas is used for wall decoration. Any dirt stain that appears can be easily removed with washing powder and warm water. Fabric is an environmentally friendly material; it allows the walls to “breathe”, creating a favorable atmosphere in the room. And an intermediate porous layer of foam rubber or padding polyester will improve sound absorption. The fabric rarely peels off the walls, since only one seam is needed to secure it. Modern fabric dyeing technologies will allow them to serve you for a long time, remaining just 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 at high levels of humidity in the room, and will also reduce the amount of dust deposited in the room.

Installation companies claim that draping walls with fabric is much less labor-intensive compared to decorating with wallpaper. In addition, the fabric can be easily restored using material of the same color. However, there are also disadvantages to using a fabric covering: for example, its cost is much higher than the best quality wallpaper. (Fig. 2.8.2.3, Fig. 2.8.2.4) Although the cost 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


However, fabric coverings are becoming more common and popular, and more and more types of them are appearing on the finishing materials market. 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.

DIY wall painting. How to make the interior beautiful and cozy without the help of professionals. We share professional secrets on how to make a wall painting with your own hands.

named after Carl Faberge

ON COMPLETION

GRADUATE 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./

I APPROVED

Deputy Director

on academic work

____________ /V.A. Osovskaya/

Compiled by: Makaveeva N.S. – teacher of GBPOU SPO KDPI named after. Carla Faberge

Reviewers:

___________________________________/_________________________/

___________________________________/_________________________/

CONTENT

Introduction

1. General provisions, goals and objectives, evaluation criteria

1.1. Stages of working on a thesis.

1.2. Criteria for evaluating the thesis.

2. Topic of diploma design

3. Composition of the thesis

3.2. Explanatory note

3.5. Work in the material

3.6. Presentation

4. Applications

1. Feedback form for the thesis and recommendations for writing it

2. 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 the WRC implementation schedule

6. Design of 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 specialty 070602 Design (by industry) is carried out in the form of preparation and defense of a final qualifying thesis (graduation project)(WRC) , which completes the specialist’s training and is the final stage of training.

The final qualifying work is an independent project and research work of the student and must reflect the knowledge, skills and abilities acquired during the learning process in solving complex (creative and practical) problems.

The pre-diploma practice preceding this is aimed at completing the technical part of the diploma project under the supervision of the diploma project supervisor and with the help of consulting support from teachers of special disciplines.

Management and control over the progress of the final qualifying work, as well as the organization of preliminary defense and review, are entrusted to the subject-cycle commission. It also determines the degree of readiness of the final qualifying work for submission for defense.

These guidelines establish general requirements for the organization, preparation, execution and defense of final qualifying 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 organizations of secondary vocational education.

Students who have completed the curriculum in its entirety and have successfully passed the stages of intermediate certification are allowed to work on their diploma project.

1.1. Stages of work on a diploma project

Stage 1 - defining:

Approve the topic of the diploma at a meeting of the cycle commission;

Determine the plan and schedule for working on the diploma project and

agree with the head of the research and development work;

Determine the structure of the work and the content of each part;

Analyze literature and Internet sources on the project topic

or research problem;

Make an assumption about the result of the diploma project, its novelty and practical significance;

Determine a 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 topic of the WRC;

Summarize the material obtained as a result of the pre-project research and analysis, logically justify the conclusions;

Carry out design - project developments, summarize the findings

results, logically justify conclusions;

Carry out the necessary economic justification for the WRC;

Carry out the artistic and graphic part of the project;

To substantiate the significance of the WRC topic for design practice in the field of application;

Develop presentation materials for the project, namely: computer presentation, visual material (tablets).

Stage 3 - final:

Submit the thesis in full for review to the reviewer and the head of the thesis;

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 for your defense;

Prepare a report;

Respond to comments from the chairman, director, and members of the certification commission.

Thus, the process of completing a diploma project (DPP) includes a number of interrelated stages:

a) choosing a topic and studying relevant materials ( literature, periodicals, illustrations, Internet materials, etc.);

b) analysis and synthesis of information on the chosen topic;

c) defining the general concept of the project ( in working sketches);

d) practical implementation of the technological part of the project ( pre-graduation practice);

e) preparation of an explanatory note (EP);

f) preparation of the graphic part and presentation of the thesis ( sketches, drawings, sketches, computer presentation and visual support, etc..);

h) reviewing;

e) protection.

The work schedule for the project is drawn up taking into account the specifics of the topic and is individual in nature, an approximate version (Appendix No. 5).

The thesis completed by the student in full is submitted for review to the supervisor and reviewer according to the schedule for completing the thesis.

1.2. Criteria for evaluating the graduation project

The defense of the thesis project is assessed as “excellent” provided that:

−

The work was carried out 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 was given; author's projects for solving problems on the most pressing design issues in information technology have been developed, in which various research and design methods 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 project activities;

Graphic design materials were developed independently and executed at a high artistic and aesthetic level using modern computer technologies and specialized design programs;

The thesis reflects the topic of the chosen project or research and is highly professional;

The report on the topic of the WRC was made competently, clearly and well-reasoned;

Reasoned answers were given to the comments and to all questions raised during the defense.

A work is rated “good” if:

− the thesis submitted to the State Academic Examination was completed in full accordance with the assignment and has the signatures of the graduate, the supervisor of the thesis, consultants for the sections of the thesis and the reviewer in the main inscriptions of all documents included in the thesis;

The thesis was completed in full, at a fairly high theoretical and practical level and contains individual conclusions and generalizations;

Developed projects for solving problems on the most pressing design issues in information technology are not so widely represented in the diploma project (DPR);

Graphic design materials were developed independently and executed at a good artistic and aesthetic level using modern computer technologies and specialized design programs;

The presented design developments and research carried out as part of the work are recommended for use in the learning process in the specialty Design (by industry) as an illustrative and informational aid;

The thesis (thesis) was completed in accordance with the approved topic;

A good report was made and questions were answered during the defense.

The work is assessed as “satisfactory” if:

In the thesis (thesis), the scientific, theoretical and practical basis of the defending problem, issue,

tasks;

Scientific and practical research is not widely represented and used

potential of design methodology in the field of information technology;

Graphic design materials were developed independently, but were not executed at the proper artistic and aesthetic level. The resources of modern computer technologies and specialized design programs are insufficiently used;

The 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;

Certain parts of the thesis are not presented in full

(explanatory note, presentation materials);

A mediocre report was made and not all answers to questions were given during

protection.

An “unsatisfactory” rating is given if:

− presented to the State State Academy of Academic Excellence of the Higher Qualifications is completed in full accordance with the assignment and has the signatures of the graduate, the head of the thesis, consultants for the sections of the thesis and the reviewer in the main inscriptions of all documents included in the thesis;

− the report on the topic presented at the defense of the thesis does not reveal the essence of the task and does not reflect methods for solving it;

− the student does not understand questions on the subject of this thesis and does not know the answers to theoretical questions that require basic knowledge of academic disciplines;

− the student is not able to explain the main provisions of the thesis, which indicates that the work was not completed independently or the results of the work were falsified.

2. SUBJECTS OF DIPLOMA DESIGN

With the choice of a project topic, the student’s creative work begins, which requires a thoughtful approach, an understanding of the relevance of the chosen topic and the area of ​​practical application of the project development.

The topic of the thesis can be any area of ​​design in information technology. In general, the topics of the WRC are determined by the following areas:

Print design

Corporate identity development

Website design

Design of TV shows, TV screensavers, movies, etc.

3. STRUCTURE OF THE DIPLOMA PROJECT

3.1. Structural elements of the final qualifying work

The structural elements of the thesis project (thesis project) are: an explanatory note, a practical part (design project in the material) and a presentation part (tablets and presentation).

The explanatory note consists of:

individual assignment for graduation design;

title page;

content;

introduction;

main part (creative part, graphic part, technological part, economic part);

conclusions;

list of references;

applications.

Assignment for final qualifying work(Appendix No. 3).

The assignment for the scientific and technical work is reviewed by the central control committee and signed by the head of the scientific and technical work, deputy. director for IOP and approved by the college’s deputy director for academic affairs. The original assignment on the WRC is the first page of the work.

Front page ( application No. 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 academic examination and is issued to the student no later than a week prior to internal review.

Content .

The content includes an introduction, the names of all sections, subsections, paragraphs (if they have a name) 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. The content (table of contents) is generated programmatically, i.e. must be auto-assembled.

The main part of the explanatory note

The content of the PP contains the following mandatory parts (sections):

Introduction

Creative part.

1. Pre-project analysis.

   Development of the project concept.

Graphic part.

1. Development of a preliminary design.

Technological part.

1. Selection of technical means for project development.

   Technological support of the project.

Economic part.

1. Brief for the development of a design project.

   Project estimate.

Presentation part.

Conclusion.

References.

Applications

Introduction.

The “Introduction” substantiates the relevance of the choice of topic, formulates the purpose of the work, identifies the tasks that need to be solved in the design process, and reveals the scientific novelty and practical significance of the thesis.

Creative part

The “creative part” includes pre-design research, which consists of: study and analysis of sources of creativity, illustrative material, study of current trends in design. And also from the description of the development of the WRC concept: the formation of a holistic concept (idea); identifying cultural connections (determining connections with style and fashion trends in design); descriptions of the design concept and design methods.

Graphic part

The “graphic part” of the diploma project consists of the development of a preliminary design: the search for a color, font, conceptual and visual solution, graphic style (graphic concept) of the project, as well as other graphic documentation and/or layouts that complement the explanatory note and tablets in A1 format (3 -4pcs).

Technological part

The “technological part” consists of justification for the choice of technical means for project development: computer programs that help optimize the design process, significantly facilitate the work and save time for the designer; technological support for the project: preparation of graphics, preparation of a project layout depending on the method of its manufacture; drawing up a technological sequence for project development. By directions: print design, advertising design the technological part may include pre-press preparation of the graphic part of the design project - illustration processing, layout, color separation.

Economic part

In the “Economic part” the necessary calculations are performed in accordance with the topic of the thesis:

Brief - compiled in all areas of the WRC subject;

The project estimate is compiled in all areas of the WRC subject;

Presentation part

The presentation part illustrates and complements the graduate’s report during the defense of his final qualification work.

Conclusion

The “Conclusion” summarizes the results of the work: it sets out theoretical and practical conclusions on the relevance and novelty of the design solution, and provides evidence of the practical significance of the final qualifying work. Conclusions should be concise and clear, giving a complete picture of the content, significance, validity and effectiveness of design developments.

References

The list of references is given in alphabetical order, numbered

in Arabic numerals and is drawn up in accordance with the methodological recommendations for the preparation of an Explanatory Note for the thesis.

Applications

The “Appendices” to the explanatory note may include:

Information bank of pre-project research, including drawings, photographs on the topic of research and development work;

Other additional graphic materials (for example: brand book);

Electronic version of the thesis on disk in an envelope designed in accordance with

3.3. General requirements for the preparation of an explanatory note final qualifying work.

The explanatory note must be at least 25-30 pages in A4 format, including appendices (technological documents, analogues of design products, development drawings, axonometric views, plans, sketches, diagrams, drawings, etc.).

The method of executing the text (typewritten) must be the same for the entire WRC. Errors (typos) and 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 research paper should be presented clearly, clearly, in the third person, using accepted professional terminology, avoiding repetitions and well-known provisions found in textbooks and teaching aids. It is necessary to explain only little-known or controversial concepts, making reference to authors expressing different opinions on the same issue.

In written work, only generally accepted abbreviations of words are allowed, for example, where we are talking about the official abbreviation [Russian Federation (RF), etc.].

After agreeing on the final version of the thesis with the supervisor, the work is printed on a color printer and bound. For VKR, it is recommended to use a hard folder on rings to attach files with the text of the PP or with files; folder color - neutral (black, blue).

After receiving feedback on the thesis, changes to its content can be made by the student only in agreement with the supervisor. After review, the draft document is not subject to changes.

Each section and appendices begin in the text of a written work on a 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 begins on a new page, paragraphs (subsections) are located one after another.

All sheets of the paperwork (except for appendices) must be numbered. Numbering begins with the table of contents (table of contents) and ends with the last (final) page. On the table of contents (table of contents), the serial number of the sheet is placed, starting with the title page (as a rule, this is number “4”). The numbers are generated programmatically at the bottom of the page with centered formatting.

Page and text formatting

The ICR must be drawn up on one side of a sheet of A4 paper (210x297 mm ± 10 mm). Body text (express style Normal):

Typeface - Times New Roman; size - 12 pt; alignment - width, hyphenation - auto; left and right padding – 0; first line indent – ​​1.25; intervals before and after – 0; line spacing – 1.15.

Section titles (express style Level 1 Heading)

Typeface - Arial; size - 14 pt; style – bold; case - all capitals; alignment - center; left and right padding – 0; first line indentation – no; interval before - 18 pt; interval after – 12 pt; line spacing – 1.5.

Title of subsections (express style Heading level 2)

Typeface - Times New Roman; size - 12 pt; style – bold; alignment – ​​left; left indent – ​​1 cm; right indent – ​​0; first line indentation – no; interval before - 12 pt; interval after – 12 pt; line spacing – 1.15.

Picture caption

Typeface - Times New Roman; size - 11 pt; alignment – ​​to the left edge of the picture; left indent – ​​along the left border of the picture, right – 0; first line indentation – no; intervals before and after – 6 pt; line spacing – 1.0.

Table name

Typeface - Times New Roman; size - 11 pt; alignment – ​​left; first line indentation – no; interval before - 6 pt; interval after – 6 pt; line spacing – 1.0.

Title page design

The title page of the thesis is drawn up in strict accordance with the sample given in Appendix 4.

Content design

The names 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. Next to each name indicate the page number on which the beginning of this section is located. The content (table of contents) is generated programmatically, i.e. must be auto-assembled.

Design of illustration material

The content and volume of illustrative material is determined by the student in agreement with the head of the graduate work. Illustrative material may contain tables, diagrams, photographs, drawings, sketches illustrating individual provisions of all main sections of the work. Illustrations may be placed on separate sheets; they must be included in the general numbering; In this case, the page number may not be indicated.

The word "table", its serial number (without the No. sign) and the name are written at the top of the table itself on the right side.

All illustrations (photos, sketches) are called drawings. The figures are numbered sequentially within a section with two Arabic numerals (1.1, 2.1, 3.1), the first of which indicates the section number, and the second the serial number of the figure in this section. Figures are placed immediately after references to them in the text.

Figures and tables should be placed so that they can be viewed without rotating the project. If such placement is not possible, the figures and tables are arranged so that to view them you need to turn the project clockwise.

You can tear a table and move part of it to another page only if the entire table does not fit on one page. In this case, the heading “Continuation of the table “table number”, as well as the table header, is transferred to another page.

Calculation formulas in the text should be highlighted on a separate line.

An example of the design of figure captions and table headings is given in Appendix 7.

Registration of the list of references

The bibliography includes all sources used (at least 10 sources). Information about books must include: the surname and initials of the author (in the nominative case); book title; place of publication; publisher and year of publication.

The name of the place of publication must be given in full in the nominative case; reduction of only two cities is allowed: Moscow (M) and St. Petersburg (S-P).

The names of publishing houses are highlighted in quotation marks, except in cases where they are a compound abbreviated word formed from the full official name of the publishing house.

Registration of applications to the WRC

Each application should be started on a new sheet, in the upper right corner of which the word “Appendix” and a number indicated by an Arabic numeral (without the No. sign) are written. The volume of applications is not limited.

Presentation design

The presentation to the WRC is made in Microsoft Power Point format.

Just like a thesis, the 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 are written at the bottom right, the information of the director, the place and year of the thesis defense.

Please note that the presentation for the project is designed 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, animation pictures or background pictures.

3.4. Graphic part of the thesis

The graphic part of the thesis consists of graphic documentation (as part of the PP) and tablets in A1 format (3-4 pieces). The graphic part is provided in the material and recorded on electronic media.

Tablets may include a preliminary design of the design, necessary drawings, tables and final versions of the design project of the design.

Tablet design

Tablets are performed using traditional graphics tools and the use of modern computer software (Adobe Photoshop, Adobe Illustrator, Corel Draw, Adobe Dreamwiever, Adobe Flash, Adobe InDesign).

Quantitatively, visual and graphic material can be three to four sheets of A-1 format.

The base of the tablet is foam cardboard (thickness not less than 5mm).

The design of each tablet must contain the elements of the title page of the project:

In the top field: GBOU SPO College of Decorative and Applied Arts named after Carl Faberge No. 36; Final qualifying work on the topic “………”

In the bottom field: student: ……………., groups: ………, head of the graduate research and development project: ……………., Moscow 20…..g.

3.5. Work in the material (if necessary)

Depending on the subject of the project, a mock-up (corporate style) or a product can be made. The work in the material should demonstrate, first of all, the student’s technical training, his competence in choosing technological and design means for implementing a 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 research and development project together with the PCC and depends on the complexity and labor intensity of the products or layouts.

Depending on the SRC, the following can be performed in the material:

For graduate projects on the topics “Web site design” and “Design of television programs, TV screensavers, movies”, the work in the material is provided on a CD.

For graduate projects on the topics “Printing Design” and “Advertising Design”, the work in the material is provided in printed form.

For graduate projects on the topic “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, combining traditional components using multimedia.

The presentation slides of the thesis should describe the problem, the subject of research and the main stages of implementation in the form of concise abstracts. Along with explanations, slides may also contain various diagrams, tables, illustrations and diagrams.

At the end, the presentation is supplemented with a list of results, which should contain conclusions about the relevance and practical significance of the project.

The presentation is accompanied by a traditional report lasting 5-10 minutes. The report must have a clear structure and sequence: relevance of the topic - goals - objectives - starting points 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 a correct evidentiary form.

Appendix 1

REVIEW

For the diploma project (work) completed by the student:

Specialty No.

070206 Design in information technology

Topic 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 assigned assignment

Quality of execution (on a five-point system)

Explanatory note:

Introduction:

Creative part:

Technological part:

Economic part:

Graphic part:

Using the latest achievements and advanced methods of technology, science and engineering in the diploma project (work)

Possibility of using a diploma and its individual parts in production and educational process

Advantages of a diploma project (work)

Disadvantages of the diploma project (work)

The reviewer's opinion, based on an analysis of the diploma project (work) about the degree of preparedness of the graduate to work in his specialty

Student’s diploma project (work): ___________________________________________________

Deserves __________________________________________ rating

Place of work, position of reviewer:

Full name reviewer:

"______" __June___ 201____ Signature _____________________________

I have read the review ________________________________________________________________

(student signature)

Appendix 2

MANAGER'S REVIEW

for completion by a student of the State Budgetary Educational Institution of Secondary Professional Education KDPI named after. K. Faberge

_______________________________________________________

/Student's full name/

final qualifying work on the topic:

carried out under the guidance of: _____________________________________________

Characteristics of work and student

The student’s graduation project was submitted for review

On the topic

«______________________________________________________”».

________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

General conclusion

__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Supervisor:

teacher_________________________ /___________________/

" ______ " June 201___

Appendix 3

named after Carl Faberge

I APPROVED

Deputy directors

on academic work

Osovskaya V.A.

"___" ________201__

EXERCISE

on student's diploma design

_______________________________________________________________

by specialty 070602 Design (by industry)

Subject: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Project content:

Introduction

Creative part

Graphic part

Technological part

Economic part

Conclusion

Literature

Project Manager:

_________________________________________ ___________________________________

/F.I.O./

Consultants:

Economic part

/F.I.O./

Date of issue of the thesis assignment " _________ » March 201____

Deadline for completion of the project " ________ » June 201___

Chairman of the PCC No. 3:

__________________________________________________ ________________________________________

/F.I.O./

Appendix 4.

Sample design of the title page of an explanatory note

MOSCOW DEPARTMENT OF EDUCATION

State budgetary professional educational institution

COLLEGE OF DECORATIVE AND APPLIED ARTS

NAMED AFTER CARL FABERGE

GRADUATE QUALIFYING WORK

(DIPLOMA PROJECT)

on the topic:

_________________________________________________________________

Speciality: 072501 Design (by industry)

Design in information technology

Completed:

Project Manager:

Consultants:

Project part

Graphic part

Economic part

Date of defense: Defended with grade:______________

"_____"___________201__

Moscow 2015

Appendix 5

Moscow Department of Education

College of Decorative and Applied Arts

named after Carl Faberge

I APPROVED

Deputy director for sustainable development

Osovskaya V.A.

"___" __________ 201__

Schedule

performing final qualifying work

on student’s diploma design ________________________________________________

specialty 072501Design (by industry)

070602 Design in information technology

Subject: _____________________________________________________________________________________________________________________________________________

№ p/p

Name of the part of the VRC

Due date

Actual due date

Signature of the manager, consultant

Topic approval

Work in the material

Explanatory note:

1. Introduction

Creative part

Graphic part

Technological part

Economic part

Conclusion,

Literature

Tablet row

Presentation

Protection

Student: ________________________________________________

Supervisor: ___________________________________________

Appendix 6

Moscow Department of Education

GBOU SPO College of Decorative and Applied Arts

named after Carl Faberge

DIPLOMA PROJECT

on the topic:

____________________________________________________________

Specialty: 072501 Design in information technology

Group: DI– 4

Student: Ivanov Alexander Yurievich

Project manager: Kolosov Valery Leonidovich

Moscow 2015

Appendix 7

Design of illustrations and references to them in the text (example).

He was the most prominent representative of op art due to both the scope of his creativity and the logical completeness of his method. He explored the impact of this art and its application in architecture and design, which led to the flowering 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 gave artists the idea to use the expressive capabilities of fabric and transparent materials - a favorite technique of advertising and printing, shocking and achieving immediate results. The generation of artists born between and, whose work is associated mainly with the 1960s, will work in the same spirit - they will systematize previous discoveries and multiply the areas of application of op art in everyday life.

Table header design (example).

Word Table 1 placed in the upper right corner, above the thematic heading of the table, without a period and in italics.

Table 1

Table title……..

Appendix 8

AUTHOR'S ORDER AGREEMENT No. _______

Moscow

"_____"____________201___

Hereinafter referred to as the "Author", acting as an individual, on the one hand, and

Hereinafter referred to as "Customer", represented by _____________________________, acting on the basis _________________, on the other side,

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. Subject of the agreement

1.1. The "Author" undertakes to create, by order of the "Customer"____________________, which will meet the characteristics specified in clause 1.2 of the "Agreement" (hereinafter referred to as the "Work") and provide property rights to use the “Work” specified in clause 3.2 of the “Agreement” (hereinafter referred to as “Exclusive Rights”) under the terms of a simple (non-exclusive) license, and the “Customer” undertakes to accept the “Work” and pay the “Author” a reward for creating the “Work” and granting rights to use "Exclusive Rights".

1.2. Characteristics of the "Work" are indicated in the “Creative Assignment” (Appendix 1 to the “Agreement”), which is an integral part of the “Agreement”.

The “Creative Task” will be the basis for evaluating the “Work” for compliance with the presented "Customer" requirements when reviewing the completed "Work" by the "Customer".

1.4. The “Creative Task” 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 ownership of the “Customer”.

2. Copyright

The right to the integrity of the “Work”.

The right to publish the “Work”.

Right of withdrawal.

The right to the following title of the “Work”:________________________________.

The right to the following parts of the “Work”:_________________________________.

Right to the following characters "Works":_______________________________.

Other rights provided for by the legislation of the Russian Federation.

2.4. The “Author” has the right, without the consent of the “Customer,” to involve any persons in the technical and other work necessary to create the “Work,” unless such work is the basis for recognizing the person who performed it as a co-author.

2.5. The “Customer” guarantees that it will not violate the copyright of the “Author” established by the “Agreement” and Russian legislation.

2.6. Moreover, 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 published anonymously, a sign of copyright 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 scope and manner specified in the “Agreement.”

In accordance with the "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” under the terms of a simple (non-exclusive) license, regardless of whether the corresponding actions are performed for the purpose of making a profit or without such a purpose in all ways permitted to the “Customer” "Russian legislation.

3.3.1. During the term of the “Agreement”, refrain from any actions that could complicate the exercise by the “Customer” of the “Exclusive Rights” granted to him for the “Work” to the extent and within the limits established by the “Agreement”.

3.3.2. Immediately notify the “Customer” of the termination of the “Exclusive Rights” to the “Work”.

3.4. The "Customer" has the right:

3.4.1. Use the “Exclusive Rights” to the “Work” for any purposes of the “Customer” to the extent, methods and limits provided for in 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 regarding the 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” to the extent, procedure and methods established by the “Agreement” and the legislation of Russia.

After 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 "Agreement" comes into force on ____________________________ and is valid until ___________________.

4.2. The period 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” for the characteristics of the “Work”, create the “Work” and transfer the created “Work” to the “Customer”.

5.1.2. Before starting to create the “Work”, develop a preliminary plan, image future "Work" 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 submit it to approval to the "Customer".

5.1.3. Eliminate those identified by the “Customer” during the creation process "Works" shortcomings, errors, make changes to the "Work" within ______________ business days from the receipt of written notification from the “Customer” if these shortcomings and changes do not contradict and do not exceed the characteristics of the “Work” established in clause 1.2 of the “Agreement”.

5.1.4. Promptly notify the “Customer” of all circumstances that make it difficult or impossible creation of a "Work" under the "Agreement" within _________________ working days from the moment of their origin.

5.1.5. Transfer to "Customer" original "Work".

5.1.6. Create a “Work” from your own materials, using your own or purchased by the “Author” tools, equipment, technical means and other property necessary to create the “Work”.

5.1.7. After creating the “Work”, register the “Work” with a notary within _________________ business days after signing the acceptance certificate 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,” along with the “Work,” all necessary documentation for the “Work,” as well as all 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. The "Customer" undertakes:

5.2.1. Accept the “Work” created by the “Author” in a timely manner.

5.2.2. Pay the “Author” a remuneration in the amount, manner and terms provided for in the Agreement.

5.2.3. Reimburse the following expenses to the “Author”:

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 the "Author's" expenses is carried out by the "Customer" within ______________ banking days from the date of ________________.

5.2.4. Before starting the creation of the “Work”, transfer at the request of the “Author” all the necessary information and documentation necessary for the creation of the “Work”, known to"To the customer."

5.2.5. From those suggested by the "Author" _______ options preliminary plan, image of the future “Work”, within _____ working days, select the most suitable option and transfer this option to the “Author” for execution.

If the “Customer” delays the deadline for selecting the most suitable option, the period for creating the “Work” is accordingly increased by the period of delay in choosing suitable option.

5.2.6. Promptly report any shortcomings, errors identified by the Customer, or the need to make changes or additions to the Work during the creation of the Work.

5.3. The "author" has the right:

5.3.1. If the “Customer” evades acceptance of the created “Work” or payment of remuneration under the “Agreement” upon expiration of ______ working days from the day when, according to the “Agreement”, the “Work” should have been transferred to the “Customer”, and subject to subsequent double warning to the “Customer” to sell created "Work" to a third party, and the proceeds, minus all payments due to the "Author", are deposited in the name of the "Customer" in the manner prescribed by Art. 327 Civil Code of the Russian Federation.

5.3.2. Do not eliminate comments, do not carry out modifications to the “Work”, if in this case 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 additionally pay for additional work (services) to create the “Work”. For additional work (provision of services) for the creation of a “Work” that is not within 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 for completion, the amount of remuneration for additional work (services) to create the “Work” and other necessary conditions as agreed by the “Parties”.

5.3.3. Demand payment of remuneration in the amount, manner and terms provided for in the “Agreement”.

5.3.4. Demand reimbursement of the "Author's" expenses in the amount, manner and terms provided for in the "Agreement".

5.3.5. Require timely acceptance of the created “Work” and signing the act of acceptance and transfer of the “Work” or a justified refusal to sign it within the established time frame.

5.3.6. Conclude agreement on the alienation of “Exclusive Rights” to the “Work” with a third party without the consent of the “Customer”.

5.4. The "Customer" has the right:

5.4.1. Require proper creation of the “Work” in accordance with the “Creative Brief”.

5.4.2. Require timely elimination of identified deficiencies, errors or the need to make changes or additions to the “Work”.

6. Time frame for creating the work

6.1. The timing of the creation of the “Work” is determined step by step in the “Schedule 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 given an additional grace period of the following duration: __________ part of the period established in clause 7.1 of the “Agreement”.

The “Parties” agreed to consider the following valid reasons for providing the “Author” with an additional grace period: ____________________________________________.

6.3. After the expiration of the additional grace period provided to the “Author” in accordance with clause 7.2 of the “Agreement”, the “Customer” has the right to unilaterally refuse the “Agreement”. The “Customer” also has the right to cancel the “Agreement” immediately after the expiration of the period established in clause 7.1 of the “Agreement”, if the “Agreement” has not been fulfilled by this time, and it clearly follows from its terms that if the deadline for fulfilling the “Agreement” is violated, “ The Customer" loses interest in the "Contract".

7. Procedure for receiving and transmitting the work

7.1. Acceptance of each stage creating a "Work" confirmed by the signing of the act by the “Parties” acceptance and transfer of the stage of creation of the “Work”, which is formalized in the following order:

7.1.1. "Author" upon completion stage creating a "Work" presents the act to the “Customer” reception and transmission stage of creation of the "Work" by post or by hand.

7.1.2. Simultaneously with the acceptance certificate, the “Author” transfers to the “Customer” the following technical and other documentation related to the “Work”: _______________________________________________________________________.

7.1.3. The "customer" is obliged within _________ working days from the date of receipt of the acceptance certificate specified in clause. 8.1 "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 compliance of the created “Work” (part of the “Work”) with the requirements established in the “Agreement”) "Work" (part of the "Work"), sign and return to the “Author” 1 (one) copy of the act reception and transmission or send a reasoned refusal to accept to the “Author” “Works” (parts of the “Work”) due to non-compliance with the characteristics of the required “Work” or the discovery of other deficiencies that significantly worsen the “Work”, by directing it by post or on purpose.

In case of refusal of the “Customer” to accept the “Work” (part of the “Work”) The “Parties”, within __________ working days from the date of receipt by the “Author” of the reasoned refusal, draw up a bilateral act with a list of necessary modifications 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”, fully complies with the characteristics of the “Work” agreed upon by the “Parties”, specified in clause 1.2 of the “Agreement”.

7.3. If the “Customer” sends a reasoned refusal to accept the “Work” (part of the “Work”), the “Parties” jointly set a deadline for eliminating identified deficiencies or making the necessary improvements.

7.4. If the “Author” has not eliminated the identified deficiencies or has not made the necessary improvements within the period agreed upon by the “Parties”, the “Customer” has the right to withdraw from the “Agreement” and demand compensation for losses.

7.5. Early creation of a "Work""By 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 completely in case of signing by the “Parties” of the act acceptance and delivery 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” did not send to 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 by the “Customer”, the “Work” (part of the “Work”) is considered accepted by the “Customer” and subject to payment 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 ____________, carry out "To the Customer" in the following order: _____________________________________.

8.2. As proof of the granting of “Exclusive Rights” to the “Work” The "Parties" are required 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 “Exclusive Rights” to the “Work” by the “Author” to the “Customer” is the signing by the “Parties” of the “Acceptance and Transfer Certificate 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 Certificate of Exclusive Rights”.

From the moment of signing the “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 creating a “Work” is _____________ (in words) rubles.

9.2. Payment of remuneration for the creation of a “Work” is made in the following order: within __________, 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”, within ___________, pays the “Author” a one-time payment in the amount of __________________ (in words) rubles.

For the provision of “Exclusive Rights” to the “Work”, the “Customer” also pays fixed periodic payments within the terms 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 a time frame that may be additionally determined by the “Parties” to the “Agreement”, but not more than once during the term validity of the "Agreement".

9.5. "Customer" pays the "Author" a fee only after deducting from the amount of remuneration all deductions under the legislation of the Russian Federation, according to which the “Customer” is a tax agent for remunerations paid under civil contracts.

9.6. Method of payment under the “Agreement”: transfer by the “Customer” of funds in the currency of the Russian Federation (ruble) to the bank account of the “Author”. In this case, the obligations of the “Customer” regarding payment under the “Agreement” are considered fulfilled from the day the funds are written off by the “Customer’s” bank from the “Customer’s” account.

10. Confidential information

10.1. The “Parties” undertake not to disclose and take measures to protect against unauthorized access by third parties to information related to the subject of the “Agreement”.

10.2. The “Parties” have agreed to consider the following information confidential:

_________________________________________________________________________________. 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 confidentiality conditions of this information remain in force for the entire duration of the “Agreement” and for 3 (three) years after the end of the contractual relationship under the “Agreement”.

10.3. The obligations of the Parties regarding confidentiality and non-disclosure of information provided for in the Agreement will not apply to publicly available information.

10.4. If one of the “Parties” allows the disclosure of confidential information, it will compensate the other “Party” for the losses caused, including any actual damage caused or lost profits.

10.5. Confidential information may be transferred by one of the “Parties” to government authorities on the grounds and in the manner established by law, with immediate notification of this to the other “Party”.

11. Responsibility of the parties

11.1. The “Parties” are responsible for failure to fulfill or improper fulfillment of their obligations under the “Agreement” in accordance with the “Agreement” and the legislation of Russia.

11.2. The penalty under the “Agreement” is paid only on the basis of a justified written request of the “Parties”.

11.3. Payment of the penalty does not relieve the “Parties” from fulfilling the obligations provided for in the “Agreement”.

11.4. The “Party” that fails to fulfill or improperly fulfills its obligations under the “Agreement” is obliged to compensate the other “Party” for losses caused by such failure. The burden of proving damages lies with the injured “Party”.

11.5. Termination of the “Agreement” does not relieve the “Parties” from liability for non-fulfillment/improper fulfillment of their obligations under the “Agreement”.

11.6. Absence of guilt in case of violation of the “Exclusive Rights” to the “Work” does not exempt any of the “Parties” them from the obligation to stop violating the “Exclusive Rights” to the “Work”, and also does not exclude application in relation to of measures aimed at protecting such rights. In particular, the publication of a court decision on a violation (subclause 5 of clause 1 of Article 1252 of the Civil Code of the Russian Federation) and the suppression of actions that violate or create a threat of violation of the “Exclusive Rights” to the “Work” are carried out regardless of the guilt of the violator and at his expense.

11.7. Responsibility of the "Author":

11.7.1. In case of violation of the deadline creation of a “Work” or the stage of creation of a “Work” 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 creation of the “Work” according to the “Agreement” for each day of delay, but not more than ______________.

11.7.2. In case of violation of the deadline for the development of a preliminary plan, an 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 of 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 _____________.

11.7.3. In case of untimely provision of the “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 transfer of the original “Work” specified in paragraph. 6.1.6 "Agreements" 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 paragraph. 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 penalties and fines that the “Author” undertakes to pay to the “Customer” is limited to the amount of actual damage caused to the “Customer”.

11.8. Responsibility of the "Customer":

11.8.1. In case of untimely payment of remuneration for creation "Works", "Customer" undertakes to pay the "Author" a penalty for each day of delay in the amount of _____________ percent per day from the amount of unpaid remuneration under the "Agreement" for each day of delay, but not more than _______________.

11.8.2. In case of untimely payment of remuneration for the provision of "Exclusive Rights" to the "Work", the "Customer" undertakes to pay the "Author" a penalty for each day of delay in the amount of ____________ percent per day of the amount of the unpaid remuneration under the "Agreement" for each day of delay, but not more than __________________.

11.8.3. In case of untimely 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 deadline for the development of the “Creative Assignment” specified in clause 1.5 of the “Agreement”, the “Customer” undertakes to pay the “Author” a penalty in the amount of ___________ percent per day of 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 ______________.

11.8.5. For using the “Work” in a manner not provided for in the “Agreement”, or upon termination of the “Agreement”, or otherwise outside the scope of the granted “Exclusive Rights”, the “Customer” shall be liable for violation of the “Exclusive Rights” to the “Work”, as provided for by law. RF and the "Treaty".

11.8.6. In case of violation by the "Customer" "Exclusive rights" to the "Work" "Author" has the right in accordance with clause 3 art. 1252 Civil Code of the Russian Federation demand, at your option, from the “Customer” payment of compensation instead of damages:

- in the amount of 10,000 (ten thousand) rubles to 5,000,000 (five million) rubles, determined at the discretion of the court;

- double the cost of copies of the “Work” or double the cost of the “Exclusive Rights” to the “Work”, determined on the basis of the price that, under comparable circumstances, is usually charged for the lawful 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 no 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 upon 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 carried out only upon 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 "Agreement" not allowed.

12.4. The conclusion by the “Author” of an agreement 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 by _______________ banking days or is overdue in payment of the creation fee "Works" _______________ times.

12.5.2. If the "Customer" delays payment of remuneration for granting "Exclusive Rights" to the "Work" more than _______________ banking days or delayed 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 “Agreement” ______________ times.

12.5.4. If "Customer":

- uses or used "Exclusive Rights" to the "Work" not authorized by the "Author" territories use of "Exclusive Rights";

- uses or has used property rights to the “Work” that were not transferred under the “Agreement”;

- uses or has used the “Exclusive Rights” to the “Work” in a manner not provided for in 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 beyond the scope of the "Exclusive Rights" granted.

12.5.5. If the “Customer” has violated the copyright 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 “Agreement” unilaterally in the following cases:

12.6.1. If the "Author" has not created the "Work" after the additional grace period specified in clause 7.2 of the Agreement. Also "Customer" has the right to terminate the “Agreement” immediately upon the expiration of the period specified in clause 7.1 of the “Agreement”, if the “Agreement” has not been fulfilled by this time, and it clearly follows from the terms of the “Agreement” that if the period specified in clause 7.1 of the “Agreement” is violated " The “Customer” loses interest in the “Agreement”.

12.6.2. If the “Author” has not eliminated the shortcomings and errors identified by the “Customer” in the process of creating the “Work” within the time specified in paragraph. 6.1.4 of the “Agreement” period and the “Parties” did not agree on a different period for eliminating deficiencies.

12.6.3. If the “Author” 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 arising 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 notification of delivery of the latter to the addressee at the location of the “Parties” specified in paragraph. 12 "Treaty".

13.3. Sending claim letters by the “Parties” in a manner other than specified in paragraph. 9.2 "Agreements" are not allowed.

13.4. The period for consideration of a claim letter is _________________ business days from the date of receipt of the latter by the addressee.

13.5. Disputes arising from the “Agreement” are resolved in court in _____________________.

14. Force majeure

14.1. The “Parties” are released from liability for complete or partial failure to fulfill obligations under the “Agreement” in the event that the failure to fulfill obligations was the result of force majeure, namely: fire, flood, earthquake, strike, war, actions of government authorities or others beyond the control of “ Parties" of the circumstances.

14.2. If any of such circumstances directly resulted in failure to fulfill obligations within the terms established by the “Agreement”, then these terms are proportionately 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 take the initiative to terminate 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 have the right to compensation for possible losses.

14.4. The “Party” that cannot fulfill its obligations under the “Agreement” must promptly, but not later _____________________ calendar days after the occurrence of force majeure circumstances, notify the other “Party” in writing, providing supporting documents issued by the competent authorities.

14.5. Failure to notify or untimely notification of the occurrence of force majeure circumstances deprives the “Party” of the right to refer to any of the above circumstances as a basis for releasing 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 conditions

15.1. The “parties” have no underlying oral agreements. The content of the text of the “Agreement” fully corresponds to the actual expression of the will of the “Parties”.

15.2. All correspondence on the subject of the “Agreement” preceding its conclusion loses legal force from the date of conclusion of the “Agreement”.

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 validity period 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 changes in its address or bank details no later than _______________ calendar days after the changes occur.

16. Application list

16.1. Appendix No.____ - "Creative task".

16.2. Appendix No. _____ - “Schedule”.

16.3. Appendix No. ______ - "Acceptance and Transfer Certificate".

16.4. Appendix No._______ - “Act of acceptance and transfer of exclusive rights.”

17. Addresses and details of the parties

"Author": place of registration - _________________________; postal address - __________________; tel. - __________; fax -________; e-mail -________; TIN -______________; r/s - _________in ________k/s ______________; BIC_________; passport: ________________issued __________________, department code ______________.

"Customer": legal address - ___________________; postal address -_________________; tel. -____________; fax -___________; e-mail -____________; Taxpayer Identification Number -_______________; Checkpoint - ___________; OGRN - ___________; r/s - ____________in ___________ k/s_______________; BIC ____________.

18. Signatures of the parties

18.1. On behalf of the "Author" __________ (Last name and initials)

18.2. On behalf of the "Customer" __________ (Last name and initials)