Initially, the task of ergonomics was to study human activity and organize his workplace in such a way as to minimize fatigue, injury, and make it more comfortable and convenient. With the development of society, not only labor activity, but also people's homes began to be optimized. Today, ergonomics in the interior is the starting point for shaping living space.

Basics of ergonomics in the interior

Simply put, this discipline provides science-based answers to the questions:

• What shape and size should be furniture and other interior items,
• How and at what distance they need to be placed so that it is convenient for a person to engage in certain types of activities (eat, sleep, cook, work).

In the interior design project, ergonomics is mainly reflected in the furniture arrangement plan. In order to draw it up correctly, you first need to study and analyze the basic detail and characteristics of the movement of all residents. To understand who, what, when and how likes to do. Based on these data, the parameters of the place are calculated for the implementation of all these types of activities.

Here such discipline as anthropometry can come to our aid. She studies the size of the human body and its parts. Often, averaged data are used for design, but you need to understand that not all people can be entered into this framework, so if the height or volume of a person differs significantly from them, it is necessary to make individual measurements. The images below show the main parameters to consider.

So we come to the concrete application of knowledge from the field of ergonomics for interior design. The following are the main parameters that should be considered when designing a home. This list will help you not to miss the mark and correctly determine the required dimensions of certain objects + the distance between them.

Minimum values:

• the width of the passage between furniture or wall and furniture - 70 cm;
• ceiling height 220 cm;
• chair depth 45 cm;
• chair height 40 cm;
• coffee table height 45 cm;
• dining table height 70 cm;
• the distance necessary for one person to eat should be 50 cm wide, 30 cm deep;
• depth of cabinets and kitchen sets 40 cm;
• the distance between the stove and the sink is 40, between the stove and the window is 45 cm;
• the distance between the bathroom / sink / toilet bowl - 30cm, in front of the bathroom / sink / toilet bowl - 55cm;
• distance in front of cabinet furniture = door width + 30cm;
• bed size for 1 person 70 x 190 cm;
• the width of the door between living quarters is 80, between non-residential ones (for example, a corridor, a bath, a storage room) - 60 cm;
• the distance necessary for one person to rest while sitting, depth 48, width 50 cm;
• the distance between the sofas (armchairs) turned towards each other is 110 cm;
• legroom in a sitting position - 40 cm;

The maximum height of the staircase or podium is 17 cm.

The height of the working surface in the kitchen depends on the height of the hostess, for example, for a woman 158-160 cm, it should be 85 cm.

Of course, this list is not complete. Ergonomics in the interior is a rather scrupulous discipline and it is simply unrealistic to pay attention to all the parameters and nuances in one post. In order to thoroughly understand the issue, you should read more than one book and study more than one article.

The relationship of a person with the objective world is not limited only to simple admiration for the aesthetic merits of objects. It is important that the objects around us are not only beautiful and pleasant-looking aesthetically, but also convenient, comfortable to use, corresponding to its physiological and anatomical characteristics. Therefore, the field of design today is closely intertwined with ergonomics - a complex applied science that considers a person in the given conditions of his activity and everyday life.

Ergonomics is aimed at ensuring that in relations with the surrounding objects, mimes maintain good health, reduce our fatigue, increase our mood, and improve the efficiency of work or rest. Today ergonomics has become one of the most important components of industrial, product and interior design.

Ergonomics concept, purpose and origins

Ergonomics literally translated from Greek means "the law of work" ("ergon" is work, and "nomos" is the law). This concept is understood as a whole area of ​​knowledge that explores human activity in a kind of system "man - equipment (technology) - environment" to achieve greater efficiency of labor. Here, ergonomics specialists study such issues as the movements of the human body during work, the determination of energy costs and productivity in various conditions.

In a broader sense, ergonomics means a scientific direction that studies a variety of objects that are in close contact with a person in his daily life, that is, both in the workplace and in everyday life. It is based on the scientific results of many disciplines and areas, including physiology, psychology, biomechanics, anthropometry, medicine, occupational health and sociology.

The very concept of "ergonomics" appeared only in 1949 in Great Britain. In America, this area of ​​knowledge was originally called "Research of Human Factors", and in Germany - "Anthropotechnics". But in reality, ergonomics, like design, existed long before the 20th century.

Even in primitive times, issues of convenience and ergonomics played an important role for humans. Primitive people tried to select a suitable stone for the shape of their hand, processed it and attached a handle to it for greater convenience and safety in use. Then this tool was used for food, hunting or protection. Already in ancient times, man tried to measure the objects he created with his physiological capabilities in order to make them not only aesthetically pleasing, but also as comfortable as possible. Archaeological excavations today provide us with the opportunity to admire how thoughtful the tools created by primitive people were.

However, the real impetus to the development of ergonomics was given precisely at the beginning of the 20th century, when problems arose associated with the introduction of new technology and technological solutions into production. Scientific and technological progress provoked an increase in industrial injuries, a deterioration in the mood of workers and other problems that ensured a high turnover of personnel. Workers had to adapt to production technology and workspace, which often did not guarantee their safety and high production efficiency. Therefore, the issues of ergonomics began to come to the fore.

Ergonomics takes into account the convenience of working with the device

Ergonomics specialists began to design the entire process of working activities in such a way that the performance of production tasks was as safe and convenient for a person as possible. Thanks to the introduction of an ergonomic approach, industrial equipment of a new type began to be designed with warning signals (warning lamps and sirens), convenient sizes of buttons, knobs and levers.

Ergonomics is based on the fact that a person should easily find, quickly distinguish various objects (equipment) from each other and work comfortably with them. In the 60s of the last century, ergonomics was already formed as a scientific area of ​​knowledge - during these years, societies and associations specializing in ergonomics began to appear in various countries of the world.

By the beginning of the XXI century, three main directions within this discipline were identified:

• Ergonomics, which deals with the problems of human relationships with the physical environment. In this area, questions are studied concerning the anthropometric and physiological characteristics of a person, which are directly related to his daily life or physical labor.
• Cognitive ergonomics. This area is associated with the psychology of perception, in particular, how visual or other perception affects decision-making, the relationship between a person and other objects of the environment.
• The direction of ergonomics, which studies the relationship of a person, groups of people with technology to ensure the best working conditions. Such organizational ergonomics also addresses the issues of ensuring communication between individuals, their joint cooperation and management.

The main task of ergonomics as a scientific discipline was the development of a suitable shape for objects that would be truly comfortable and safe for humans to use. Ergonomics is designed to increase the labor efficiency of a person by improving working conditions.

Gradually, the field of application of ergonomics has moved from work to our everyday life. Today, ergonomics are closely intertwined with design in many areas. The main task of this scientific discipline was the development of a suitable form of objects that would be truly convenient and safe for humans to use. Ergonomics is designed to increase the labor efficiency of a person by improving working conditions. Ergonomic issues are also taken into account by designers when designing household items and when decorating interiors.

Ergonomics in design

Wherever a person is, at work or at home, he always wants to use products that are convenient and safe. Both design and ergonomics influence the enjoyment of an item, so it’s not surprising that these two distinct areas flow seamlessly into each other. In various industries, professional designers are currently collaborating with specialists in ergonomics, who provide various data on the physiological and biomechanical characteristics of a person, participate in the development and testing of products.

Based on psychological, hygienic and other standards, appropriate requirements are developed for new objects or equipment so that they, ultimately, turn out to be convenient and comfortable to use. For example, a toothbrush that is curved to reach the back of the teeth, a digital SLR camera that is comfortable to hold, or production equipment that provides a high level of safety. Comfort, excellent functionality and attractive appearance - all these requirements for the created objects can be provided only by a competent combination of ergonomics and design.

One of the basic concepts used by ergonomics is the anatomical features of a person. Anatomical factors are widely used in design. The task of the designer is to ensure the adaptation of the created products to a specific person, so that the latter is convenient and comfortable to use them.

In particular, when designing a conventional chair, designers consider the question of how high from the seat the curved back should be placed so that the person's back can comfortably rest on it. To answer this important question, experts turn to ergonomics, in which there has long been such a concept as the Akerblom Line. This is an average value that determines where our spine has a corresponding inward bend in the lumbar spine (about 23 cm). Support for the spine must be provided precisely at this distance from the seat of the chair.

It should be noted that in ergonomics, special flat mannequins are often used, which reproduce the proportions of the human body. Based on this data, designers subsequently design a new product, or design a workspace that would suit most people in terms of ergonomic parameters. Plus, of course, computer analysis and various modern software capabilities are used, as well as fairly simple tools such as quizzes or leaflets, through which data is collected on what is somehow related to various factors in a person's daily or work activity, including the level comfort and safety.

The use of ergonomic principles in design has become widespread in the development of furniture, in the design of interiors of residential, office and industrial premises. Ergonomics addresses all issues related to the components of a workspace or living area, from a conventional computer mouse to a suitable temperature regime. In a room designed according to the laws of ergonomics, a person acts almost intuitively - he can easily find a switch on the wall, the color scheme of the interiors and lighting create the right mood, inspiring or, conversely, soothing.

For example, when developing furniture design and creating space for a recreation area, designers start from the anthropometry of a person who sits in a relaxed, calm position. The level of inclination of the seat is also taken into account in order to ensure the convenience of getting up from a chair or chair. In various recreation areas, corner sofas are often installed, and the ergonomic rules require the designer to arrange furniture in such a way that a person sitting on such a sofa can freely position his legs and at the same time not interfere with the people around him.

In living quarters associated with sleep, in particular in the bedroom, furniture is selected and placed based on the size of the sleeping, lying person. Here, ergonomic factors prohibit the placement of the sofa with its extended side along the outer wall of the room or the head of the sofa in a somewhat crowded space.

Particular attention is paid to issues of ergonomics in the organization and design of workspaces. Interior designers have to build on the anatomical features of the person sitting at his desk. For example, when designing an area at a working computer, ergonomics focuses primarily on the length of a person's lower leg, since it is this that indicates the optimal height of his chair or chair. Ergonomics of the working area also provides that the height, area and inclination of the desktop are determined by the type of work performed by the employee.

All items necessary for work, according to the rules of ergonomics, are placed at an accessible distance from the table so that a person can freely use them without resorting to unnecessary efforts. Ergonomics also requires the designer to pay special attention to lighting arrangement. Lighting should not be intense and too bright, so as not to dazzle or unnecessarily irritate the eyes of a person. It should contribute to a comfortable work and a positive mood of the person.

So, ergonomics currently plays a significant role in industrial and product design, in the creation of household products and the design of office equipment, as well as in interior design and room planning. This is a complex discipline that, to one degree or another, influences all issues related to the field of activity of a professional designer.

Ergonomics is a field of knowledge that comprehensively studies the labor activity of a person in the "person - technology - environment" system in order to ensure the efficiency, safety and comfort of work. Ergonomics is the science of systems. It includes concepts such as anthropometry, biomechanics, occupational health, occupational physiology, technical aesthetics, occupational psychology, and engineering psychology. This is a branch of science that studies the movements of the human body during work, energy costs and the productivity of specific human labor. Application area

ergonomics is quite broad: it covers the organization of workplaces, both industrial and household, as well as industrial design. Ergonomics is a scientific and applied discipline dealing with the study and creation of effective human-controlled systems. Ergonomics studies the movement of a person in the process of production activities, the cost of his energy, productivity and intensity for specific types of work. Ergonomics is subdivided into minergonomics, midiergonomics, and macroergonomics. Ergonomics is based on many disciplines from anatomy to psychology, and its main task is to create

such working conditions for a person that would contribute to maintaining health, increasing labor efficiency, reducing fatigue, and simply maintaining a good mood throughout the working day. The emergence of ergonomics was facilitated by the problems associated with the introduction and operation of new equipment and technologies in the twentieth century, namely the growth of industrial injuries, staff turnover, etc., since scientific and technological progress began to gain momentum, and this required a new combination of sciences with the active involvement of psychology, hygiene and much more.

The purposeergonomics is the study of the laws of labor processes, the role of human factors in labor activities and increasing the efficiency of production while observing the conditions of labor safety. E. includes the study of conflict situations, stress in the workplace, fatigue and stress, taking into account the individual characteristics of the employee. Pays attention to the process of selection, training and retraining of specialists. The creation of an information base, communications, workplace design directly affects the production process and relationships. The development of uniform standards and criteria for labor activity for each profession in such conditions is important for safety, minimization of accidents and optimization of working conditions.

Topic 37. Anthropometric requirements in ergonomics

Anthropometry- a branch of science dealing with measurements of the human body and its parts. The form and functional dimensions of the entire object environment, its volumetric-spatial structures are inextricably linked with the dimensions and proportions of the human body throughout the history of civilization. The ancient peoples and peoples of all of Europe up to the 19th century used systems of measures based on the parameters of the human body (elbow, foot, foot, etc.). Builders, architects erected buildings in which not only the ratios of the parts were consonant with the proportions of a person, but also the absolute dimensions of the buildings themselves were commensurate with people. Artists and sculptors, in order to obtain simple means for reproducing a figure without referring to nature, as well as striving to create a harmonious image of a person, proposed and used systems of proportions - canons.

In the canon of Polycletus, the sculptor of Ancient Greece, the width of the palm was taken as a unit and the head was 1/8 of the body length, and the face was 1/10, etc. Canon Leonardo da Vinci (1452-1519) - a figure with raised and spread arms and legs apart fits into a circle, the center of which is the navel. The architect Corbusier (1887-1965) patented a proportioning system called Modulor. It is a scale of linear dimensions that meet three requirements: are in certain proportional relationships with each other, allowing you to harmonize the structure and its details; directly correlate with the dimensions of the human body, thereby ensuring the human scale of architecture; expressed in the metric system of measures and therefore meet the tasks of unification of building products. In modern practice, they prefer to use anthropometric characteristics person. Distinguish classic and anthropometric ergonomic features. The former are used in the study of body proportions, age morphology, to compare the morphological characteristics of different groups of the population, and the latter are used in the design of products and the organization of labor. Ergonomic anthropometric features are divided into static and dynamic. Static signs are determined with the person's position unchanged. They include the dimensions of individual parts of the body and overall (largest) dimensions in different positions and postures of a person. These dimensions are used in product design, minimum passages, and more. Dynamic anthropometric features are the dimensions measured when the body moves in space. They are characterized by angular and linear movements (angles of rotation in the joints, the angle of rotation of the head, linear measurements of the length of the arm when it moves up, to the side, etc.). These signs are used when determining the angle of rotation of handles, pedals, determining the zone of visibility, etc. The numerical values ​​of anthropometric data are most often presented in the form of tables. The general rules for the use of anthropometric data when calculating the parameters of workplaces and production equipment are based on the percentile method. Percentile- one hundredth of the measured population of people, which corresponds to a certain value of the anthropometric characteristic.

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Ministry of Education and Science of Ukraine

Kharkiv State Academy of Design and Arts

Department of Graphic Design

Abstract on the discipline Basics of design methodology

Prepared by: senior group ГД (З) -12 Yudina O.S.

Checked by: Ganotskaya Olga Vasilievna

Kharkiv 2014

1. Ergonomics in design. Design object analysis

The main structural elements of ergonomics are theory, methodology and scientific knowledge about the subject of research. Along with these elements that form the general scientific foundations of ergonomics as a science, an important link in its practical functioning and development is a block of operational means and methods of ergonomic research, which determines the specifics of ergonomics as an applied scientific discipline. The purpose of ergonomics is to improve the efficiency and quality of human activity in the system "man - machine - object of activity - environment" (abbreviated as "man - machine - environment") while maintaining human health and creating the prerequisites for the development of his personality. Human operator - any person operating a machine: an airport dispatcher, a machine operator, a housewife at the stove or with a vacuum cleaner, etc. - for the ergonomist, they are all operators. Ergonomics and its methods have recently been increasingly used in the design of not only technical devices, but also architectural objects, interiors, and elements of their equipment. Therefore, it seems appropriate in this case, instead of the concept of "machine" **, to use the more generalized concepts of "product", "object", and instead of the term "operator" to use designations suitable for this action - "consumer", "viewer", etc. NS.

For my comparative analysis, I took such an object as a chair.

From the point of view of the most ergonomic object, a model of an office chair made of genuine leather with soft seats, with armrests, seat height adjusters, equipped with wheels for movement, a comfortable backrest with a bend in the shape of the spine was chosen in this model, the design of the object was developed in synthesis with ergonomics.

For comparison, I chose a chair in my opinion with minimal ergonomic properties in the shape of a female body. With a solid non-adjustable seat, without armrests, with a backrest that is not functional, a chair is made of plastic.

Conclusion: In the first case, ergonomic properties improve the quality of use, in the second example, the chair serves more as an object of aesthetics than an object of comfortable furniture, which reduces its direct purpose to a minimum level of use. From which we can conclude that ergonomics is one of the most important components in the development of the design of an object.

2. Standard and aesthetics in design. Golden ratio

A person distinguishes objects around him by form. Interest in the shape of any object can be dictated by vital necessity, or it can be caused by the beauty of the form. The form, which is based on a combination of symmetry and the golden ratio, contributes to the best visual perception and the appearance of a sense of beauty and harmony. The whole always consists of parts, parts of different sizes are in a certain relation to each other and to the whole. The principle of the golden ratio is the highest manifestation of the structural and functional perfection of the whole and its parts in art, science, technology and nature. Back in the Renaissance, artists discovered that any painting has certain points that involuntarily rivet our attention, the so-called visual centers.

For my analysis, I chose a drawing from the Internet by an unknown artist who came to my taste. The picture shows a girl surrounded by men with hare heads, it seems to me that this is an illustration for the work "Alice in Wonderland".

One of the compositional centers is on the touching hands of a girl and a male rabbit. The whole picture is built on diagonals and perspective. The lines passing through the picture add dimensionality to it, so for example D1 is the diagonal of the picture, D2, D3 and D4 are lines parallel to it that subordinate the movement of the composition as a whole

As an example of industrial design, I chose the Segway style stroller (Ascanio Afan de Rivera).

Are the ratio of the stroller elements selected? and 1/3 of the principles of the golden ratio I did not find here, but the model was to my taste, laconic, bright, no frills.

Conclusion: The Golden Ratio plays a huge role in the work of artists and designers. even if we cannot recognize it, I think it is still present. The creation of the integrity and completeness of the work, the creation of a certain meaning and compositional center is what the golden ratio gives.

3. The use of bionics in design

Applying biological principles in graphic activity, the artist-designer tries to reveal a special aesthetic kind of regularities in the natural analogue. A specific feature of the modern stage of mastering the forms of living nature in the objective world is that now not just the formal aspects of living nature are being mastered, but deep connections are being established between the laws of development of living nature and the objective world. At the present stage, designers use not the external forms of living nature, but only those properties and characteristics of the form that are the expression of the function of an organism, analogous to the functional and utilitarian aspects of the graphic form. From function to form and to the laws of shaping - this is the main path of design bionics. The use of the laws and forms of living nature in the design is quite legitimate. The evolution of living organisms and graphic images is based on the same principles determined by the interaction of forms and functions. Wildlife has a tendency in the process of its development to strive to save energy, building material and time in every possible way. The law of minimum in living nature is due to the organic expediency of existence. All this led to the idea of ​​the possibility of using the patterns of the formation of living structures precisely in a constructive sense, and not for the purpose of just some kind of formal search.

Three years ago, Mercedes Benz Corporation developed a bionic vehicle copied from a tropical box fish. Despite its suitcase shape, the machine has extremely low air resistance.

Today, bionics is no longer exchanged for trifles. It is an established science that benefits from ever faster computers and the expanding capabilities of microtechnology: now scientists can explore even the smallest structures of the plant and animal world.

4. Design abroad

Development of design in Germany.

German proletarian culture was greatly influenced by the ideas of Gottfried Semper, who in his programmatic works "Science, Industry and Art" and "Practical Aesthetics" criticizes the industrial civilization: "We have artists, but in fact there is no contemporary art ..."

For 20 years after the unification of Germany in 1870, German industry had neither the time nor the need to heed such criticism. Numerous critics believed that improved design in both craft and industry would have a positive impact on the country's future prosperity. Germany, which had no cheap sources of raw materials and had no sales markets for inexpensive goods, could only fight for a place in the sun by supplying products of exceptionally high quality. This idea was developed by Friedrich Naumann in his essay Art in the Age of Machines. In contrast to the Luddism of William Morris, he argued that such a quality can only be achieved by people with an artistic taste, but focused on machine production. Industrialization and German nationalism encouraged the revival of “native German culture”.

Development of design in Italy.

It was in Italy that the connection between design and art was especially pronounced. Unlike German and American design, Italian design is shaped by the old traditions of culture and economy, whose free experimentation has resulted in dynamic and individual forms. “If other countries have a design theory, Italy has a philosophy, even a design ideology,” says Umberto Eco. Philosophy lies in the very lifestyle of Italians, their ability to be the best guides between the past and the future. That is why the Italian style is so attractive and in harmony with the times: in every Italian master there is an internal, classical module of beauty. This sense of beauty, color and shape is everywhere. After the Second World War, Italy came to the fore in the field of design in Europe, whose economy was experiencing rapid development. Italy, which did not stand out for anything special in design before the war, is becoming, as mentioned earlier, design - a nation. The peculiarity of Italian design - "the joy of experiment" - is associated with plastics that have appeared since the mid-60s. and offered new, almost limitless possibilities of shaping. Italy has become a leader in new design endeavors. This dominant position was especially evident at the 1972 exhibition “Italy. New Interior Space ”, held at the Museum of Modern Art in New York. The paradox of Italian design, according to designer and architect Andrea Branzi, is that it exists in spite of conditions. There is no school of Italian design, no museum of design, futurism as a formal compositional basis of the international style was born prematurely, many designers are professionally in the intermediate zone between architecture and spontaneous creativity, work is often done by talented self-taught. The role of the school, audience, collective judge and design museum is played by design exhibitions and numerous magazines: Domus, Abittare, Interni, Modo, etc. The leading role in the birth of the visual language of postmodernity in design belonged to the Italian avant-garde design 1970- 1980s The Alchemy group was founded in 1979. Its leader is Alessandro Mendini. The first software objects are colored things. Mendini's idea is to oppose the mass technical culture of things with manual processing, artistic intervention, resulting in something like art design. Ettore Sottsass organizes the Memphis group as a kind of counterbalance. He said that the main task of the group was not so much shocking or the development of some kind of original artistic design language, as experiments with new materials and technologies: polyester resins and laminates, polyurethane foam and films with printed patterns. Nevertheless, this group influenced precisely with its stylistic, artistic, compositional innovations. The radical design group "Strum" (strumming) was founded in 1963 in Turin by Giorgio Geretti, Pietro Derossi, Carla Giammarco, Riccardo Rosso, Maurzzio Voglia, Maurizio Voglia. One of the group's most famous works is the exotic "furniture" for sitting and lying in polyurethane "Pratone" (large meadow, 1966-70). In the 60s and 70s. the group has been exceptionally active in promoting radical design in Italy, speaking at various workshops and publishing essays on design theory.Free Design Laboratory School "Global Tools" In 1973, members of various radical design groups rallied around the magazine "Casaballa", whose director was Allesandro Mendini. All this eventually led to the organization in Florence in 1974 "Global Tools" - a school of radical design and architecture. Its goal was to develop the study of non-industrial methods of production, to promote individual creativity. Global Tools has opened several workshops developing a DIY approach to design and exploring the potential application characteristics of technical materials. Global Tools tried to unite ordinary people and professional designers into a single design process on the basis of creativity. In 1975, the school of radical architecture and design was disbanded and the radical design debate quickly lost momentum. During its tenure, Global Tools was the central forum for radical design and its dissolution marked the end of the first phase of this movement in Italy. By the mid-1970s, Radical Design was at its peak, and hopes for social change through design and architecture were dashed. But this movement paved the way for the emergence of new leaders in pop design, Alchemy and Memphis, who effectively and comprehensively renewed Italian design. Challenging the established canons in design, the leaders of radical design laid the theoretical foundations for the stylistic direction "Post-modernism", which originated in the late 70s and flourished in the 80s. biennium

Development of design in France.

France had a strong tradition in the development of artistic design ideas. Here in the 1920s. the school of Le Corbusier was formed, calling for the creation of a harmonious object environment by means of architecture and design, for a comprehensive revision of the world of things around man. However, traditions alone are not enough for the successful development of design; rather strong economic incentives are still needed.

Until the 1950s. there were almost no professional designers in the country. In 1952, on the initiative of Vienot, the Institute of Technical Aesthetics was created, conceived as a public organization designed to unite the efforts of representatives of various circles aimed at the development and promotion of design.

Design in France in the post-war years did not acquire such scope as in other large European countries and the United States, but a number of the largest French associations and firms - Air France, Aluminum France, etc. - paid great attention to the development of design. It was obvious to them that the use of the services of designers in production is one of the main sources of increasing the efficiency and profitability of the enterprise. Christian Dior (1905-1957) An outstanding French couturier, the creator of the "New Look" in post-war fashion, the founder of the Dior company.

Development of design in England.

The development of design took place under the banner of increasing the competitiveness of English goods. In 1944, the Design Council, an official government subsidized organization, was created to “foster, by all means possible, the artistic and design quality of the products of the UK industry”. The Council began a wide propaganda simultaneously in two directions: among industrialists, convincing them to involve designers in the creation of new products, and among wholesale and retail buyers, instilling in them high demands for the quality of industrial goods.

Since 1949, the Council has been publishing the Design magazine. Under the Council for Design, a Design Center was also created - a constantly updated exhibition of the best design products. The center also has a catalog of British designers, which provides the necessary information to customers wishing to use their services. In 1957, the Design Center Awards were established, which were awarded annually to the top 20 industrial design products. Douglas Scott (1913-1990) The first professional industrial designer in Great Britain. Spouses Robin and Lucien Day in the 50s are the leading designers of Great Britain. Thanks to their youth, talent and optimism, they became the symbol of the post-war period, which made Great Britain famous throughout the world. Ernest Race (1913-1964) played a prominent role in the development of modern furniture design in Great Britain after World War II. Reis's work became the basis for the subsequent emergence of the concept of "Contemporary Style" (Contemporary Style) for light organic furniture, unlike the emasculated pre-war modernism. It was a democratic style of modern high quality products available to a wide range of consumers. Ernest Race (1913-1964) played a prominent role in the development of modern furniture design in Great Britain after World War II. Reis's work became the basis for the subsequent emergence of the concept of "Contemporary Style" (Contemporary Style) for light organic furniture, unlike the emasculated pre-war modernism. It was a democratic style of modern high quality products available to a wide range of consumers.

Development of design in the USA.

The development of a broad program of mastering the mass market, the alliance of industry with artists who became the first designers, did not lead to the emergence of design as a mass phenomenon in the early 20th century in the United States. The design boom arises only in the late 1920s under the influence of the overproduction crisis, which entailed the process of monopolization of the economy and the development of industry. In such a situation, the first major center of contemporary design is emerging in the United States. Thus, it can be stated that by this time a specialist was formed, whose activities were aimed at creating the objective world surrounding a person, i.e. designer. This is how American industrial design emerges, which is a universal design for all development model. Meanwhile, the initial period of American design has no theoretical justification, but the questions of beauty and form, their relationship in the product of the industry, worried scientists, among them: Horatio Greeno, John Griffiths, Walt Whitman, Frank Lloyd Wright, Arthur Pulos, and others.

Development of design in Japan.

The Japanese school of shaping is one of the few in the world that has a kind of recognizable aesthetics and an organic combination of national tradition with world achievements. In the process of development, Japanese design as a type of design and artistic activity has largely repeated the same stages of formation as the leading design nations. We can say that over the past twenty years, Japan has turned into a kind of Mecca of design. It is difficult to name a major European or American designer who would not visit this country to study its design, which is distinguished by an exceptionally high aesthetic level and an organic combination of national traditions with world achievements. The success of Japanese design is often explained by the centuries-old culture of artistic crafts and everyday life, the aesthetic sophistication and harmony of which has always amazed foreign connoisseurs. Indeed, since ancient times, in the formation of the objective world, the Japanese have adhered to a concept based on functionality, laconism and purity of forms. design, as a design activity, originated in Japan and received its initial development within the framework of traditional craft culture using advanced Western techniques and technologies. A close connection with traditions seems to be an important feature, since, unlike European design, at the first stage of its formation, Japanese design did not know the gap between the aesthetics of an object made in an industrial way and a handicraft product. This was also facilitated by the attitude to the world of things inherent in the Japanese worldview, which did not divide objects into purely utilitarian and works of art. The same aesthetic principles were characteristic both for aristocratic art and for various types of applied art. Practicality, utilitarian beauty of objects, symbolism, avarice in expressive means, simplicity of composition, laconicism and naturalness of forms. In 1901, an industrial design department was opened at the Tokyo Polytechnic College. It was within its walls in the 20-30s that the ideas and methods of European design schools were actively studied: the legacy of Ruskin and Morris, the pedagogical ideas of Itten, Mohoy-Nagy. The theoretical ideas of the Bauhaus and Russian constructivism in Japan were guided by the private Institute for New Architecture of Industrial Art, opened by Renshichiro Kawakita in the early 30s. Also an important role in the development of design was played by the Institute of Industrial Art under the Ministry of Trade of Industry, created in 1932 as an agency for the introduction of new technologies and products into mass production.

The years 1898-1945 in the history of Japanese design can be described as the initial period of its formation. The main feature of design as a design and artistic activity in Japan is that it was born in the bowels of a handicraft culture without losing its genetic connection with traditions.

The development of design in Japan proceeded in a complex process of interaction and collision of all kinds of creative concepts, economic, organizational and stylistic forms - both those transferred from Europe and America, and their own, arising on the basis of centuries-old cultural customs, aesthetic ideas and artistic forms. This is a design concept that emphasizes the humanization not of technology as such, but of the environment it creates, on design that goes not from technology to person, but from person to technology, much in common with those features of the material and artistic culture that traditionally developed among the Japanese ... In this culture, there has never been a division into material and spiritual forms of art, the world has always been presented plastically integral. Traditional Japanese architecture, gardening art, painting, handicrafts have always been a means of organizing the subject environment of a person, and this was done with that enviable perfection, which even now seems to be truly ideal.

Conclusion: the development of Design in the world took place in general terms in the same way, taking into account the different mentality of peoples, adjusted for economic instability and political games. Each of the countries has nevertheless passed its own path of design development. I reached a certain level and chose my direction.

5. Eero Aarnio

“When I start working on the design for a new brand, I must have the feeling that anything is possible, and it will be, if I have good professional training. As a designer, I am closer to artists, sculptors, but in my field it is impossible to be an artist without being also a technician. "

A great innovator in the use of plastics in industrial design. Since the 1960s, his bright, cozy and ironic works have become a symbol of the era of pop culture. Many of his works can now be seen in prestigious collections such as the Victoria and Albert Museum in London, MoMA in New York, Vitra Design Museum.

Eero Aarnio was born in 1932 in Helsinki, where he studied at the Institute of Applied Arts (1954-1957). In 1962 he opens his studio and works on interiors and industrial projects, as well as a photographer and graphic designer.

Absorbed in the idea of ​​creating new furniture, Aarnio designs his most famous armchair Ball (Globe, Ball, 1963-1965) already in 1963. It was released into production 2 years later. The material (fiberglass) and the shape of the chair were a perfect innovation for the furniture industry at that time.

The Ball armchair is a “room within a room” with a cozy and calm atmosphere, protected from external sounds and allowing privacy for relaxation or a telephone conversation. Rotating around its axis, the chair enables the person inside to see the space around him and thus not feel completely isolated from the outside world.

According to Eero Aarnio himself, the idea of ​​creating the chair was obvious. “We didn't have a big chair in the house, so I decided to create one, but in a way that was totally innovative.” After making a few sketches, Arnio decided on the shape, while the size of the chair was determined by the designer's tall stature. "... it was only necessary to remember that it must pass through the doorway."

The first model of the chair, which Eero Aarnio made himself, is still in his own house. This very chair was seen in the designer's house by two young managers from Asko. It took another 2 years to release the chair into production.

In 1966, Ball was presented at the Cologne furniture fair. The armchair became a sensation at the exhibition, brought Aarnio world fame and launched a whole series created by Arnio from fiberglass, which remained one of the designer's favorite materials in subsequent years. The series also includes the Pastil armchair (1967-1968), for which it received the 1968 American Industrial Designers' Prize, and the Bubble armchair (1968). These bold, tradition-breaking pieces of furniture reflect the design spirit of the 60s.

About the Bubble chair Eero Aarnio says: "After creating the Ball, I wanted light to penetrate into the ball from all sides." The transparent ball was created from acrylic resin, which was heated and inflated like a soap bubble.

The Pastil Chair (1968) and the Tomato Chair (1971) confirmed the designer's reputation for inventing new shapes that are unusual in appearance but extremely comfortable for the human body. The New York Times wrote of the Ball and Pastile armchairs: "This is the most comfortable shape to hold the human body." The use of Pastil Chair and Tomato Chair is very diverse: the chairs can be used indoors, outdoors, in winter and summer. But the most pleasant thing is to sway in them on the water surface on a hot day.

Many of Aarnio's models offer a variety of uses. So for many years, the designer was haunted by the idea of ​​a chair that could be used for conferences and for the home (in the same spirit as his large fiberglass chairs). Many drawings were made, many materials were tried, but none of them satisfied both the aesthetic and technical needs of the designer. Having created a “dining version” of the Parabel table in 2002, he finally came up with a so-called “Focus Chair” as an addition to it, which would satisfy his requirements.

The Focus armchair is made on the basis of a metal structure covered with special foam and upholstered with Tonus 2000 fabric in a variety of colors. Its dimensions are 25.5 x 26 x 32.25. The ergonomic design and comfortable seating are as natural to Aarnio as the outstanding shape.

The naturalness of form, comfort, brightness and ironic overtones of Aarnio's projects could not but appreciate the children. Moreover, the designer has given the appearance of toys to some of the pieces of furniture. This was the case with the projects Pony (1973) and Tipi (2002). While these objects look like big toys and are loved by children, they are also comfortable for adults. “A chair is a chair ... but what one is sitting on does not have to be a chair. It can be something else, the main thing is that it is correct from the point of view of ergonomics. The seat can even be a small and soft Pony that you can sit astride or sit on the side. "

In 2005, Aarnio created children's furniture items for the Mee too project of the Italian company Magis: the PUPPY plastic dog and the TRIOLI children's chair.

Like Aarnio's other projects, his children's objects are characterized by functionality, versatility, color and playful overtones. No matter how the child turns the Trioli chair, he will be able to sit on it (the level of the seat will be different each time), the chair can be used as a rocking chair and carried by holding the handle. At the IMM COLOGNE 2006 furniture fair in Germany, Trioli, among 18 other projects, was awarded the Interior innovation award cologne.

All projects of Eero Aarnio are imbued with an international spirit and individuality at the same time. At the same time, they correspond to the Scandinavian idea of ​​the quality and durability of the product.

In November 2007 Eero Aarnio was awarded the title of professor.

In 2008, Eero Aarnio received the prestigious Compasso d "Oro Award for industrial design for the Trioli chair designed for Magis.

Conclusion: I love the work of this designer, as they inspire to create something new from something not previously used. Aarnio is a role model for many young designers, and not only in the final result of his work, but also in the path to achieving the goal, his courage and innovation are mixed with a sense of self-satisfaction from the result, which can take years to create.

ergonomics design graphic aesthetics

Keinu rocking chair

6. Design in Ukraine

The system of design and ergonomics that existed in Ukraine before independence was an integral part of the design-ergonomic provision of the needs of industry and the socio-cultural sphere of the former USSR. In the early 90s, it ceased to exist, the volume of design and ergonomic developments in connection with the decline in production dropped sharply.

The problem of effective use of design and ergonomics began to be resolved in Ukraine only in recent years. This is evidenced by a number of resolutions of the Cabinet of Ministers of Ukraine on this issue and developed for their implementation by the National Research Institute of Design together with the Union of Designers of Ukraine, the All-Ukrainian Ergonomic Association.

The design and ergonomics system that has been formed and is valid for this time consists of:

Professional structures, which include the Design Council at the CMU (coordinating body), the main organization for design and ergonomics (the working body of the Council), the Technical Committee for Standardization "Design Taergonomics" (TC 121), regional and industry design centers, design ergonomics subsections at enterprises and organizations, special educational institutions, the Union of Designers of Ukraine, the All-Ukrainian Ergonomic Association;

Consumers of the product of design-ergonomic activity (organizations and enterprises that place orders for design engineering to create their products, structures of various forms of ownership that sell products created for design projects, organizations that control the quality of these products).

The objective factors that determine the need for the development of design in Ukraine are:

The emergence of market relations in Ukraine and, as a result, a sharp increase in imported, often low-quality products in the domestic market;

The government announced as the immediate goal "constant economic recovery", which should lead to a significant increase in the production of products of the industrial complex, intended both for export and for the domestic market;

Direction to the European integration of Ukraine, associated with the solution of the problems of increasing the carelessness and quality of goods and the environment of human life, the creation of a single "normative field" in these areas;

Globalization of the world economy and the related requirements of "humanization" of the human environment, increasing the competitiveness of marketable products.

The noted factors make it necessary to solve the following tasks:

Increasing the efficiency of the functioning of the national design and ergonomics system, adequate to the projected economic growth of Ukraine, the requirements of European integration and humanization of the human life environment, with the priority development of industrial design and a corresponding increase in the quality of training specialists in design;

Development of both the public sector of design, which should mainly carry out coordinating, scientific, methodological, regulatory and expert functions, design-designing of large-scale complex, systemic and unique objects, as well as design organizations of non-state ownership, aimed at solving operational applied design problems -economic provision of the economic complex of Ukraine;

State incentives for the development of design (primarily industrial).

The noted problems are supposed to be solved on the basis of:

State coordination of organizational, legal and economic issues of design development;

Conducting a consistent protectionist policy in the design industry by government agencies;

Comprehensive implementation of a system of measures for the development of national design from the priorities defined in the Concept, in accordance with the state program developed on its basis.

The concept was developed as open, with the possibility of subsequent determination of additional tasks, not limited by the time of its approval, and provides for the implementation of a system of measures for the development of design.

Today it has become obvious that the economic development of our state, the improvement of the welfare and spirituality of the population are impossible without involving specialists in the production process of industrial products, giving them a priority role at all its stages: design, examination, sales forecasting and the lack of research, which systematically cover the aforementioned problems. is a factor that argues the relevance of the problem of design education in Ukraine.

The reorganization of the education system in Ukraine, when educational institutions are given the right to open certain specialties, has led to the fact that in the last five years alone, more than 30 design faculties and departments have been formed in both state and non-state educational institutions of 1-4 levels of accreditation. A significant number of such subsections do not have adequate experience, qualified teaching staff, or methodological support. Even in educational institutions that have accumulated significant experience in the training of designers, today there are problems that need a scientific solution. Analysis of the situation that has developed in design education reveals a second group of factors regarding the relevance of the problem.

In recent years, the tendency of overcoming the crisis phenomena has become more noticeable in the national economy of Ukraine. Industrial production is reviving. Accordingly, the need for design and engineering organizations is growing, and the number of domestic goods on the international market is increasing. Therefore, a special problem is posed by the programmatic issues of the prospects for the development of domestic design.

Conclusion: The modern model of a specialist is based on the principle of forming a new type of universal designer.

Posted on Allbest.ru

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Ergonomics concept

Ergonomics in interior design

Ergonomics in the arrangement of furniture in the premises

· Hallway

· Bathroom and toilet

· Kitchen and kitchen-dining room

· Living room

· Bedroom

· Children

Ergonomics concept

Each of us is individual and has personal preferences and requirements for the surrounding objects. Some people fixate on such characteristics as quality and functionality, others choose the environment for the cost of its components, and for the rest the main thing is style and originality. But there are certain abilities among things, which many give preference to without knowing it. After all, every person wants to feel comfortable, to experience both physical and spiritual convenience. It is known that such feelings can be provided by your own home, which is able to hide from the bustle of the city and protect against the aggression of the modern world.

Ergonomics is a science that studies various objects that are in direct contact with a person in the course of his life. Its main task is to develop the shape and optimal arrangement of objects that would be as convenient as possible for a person when using them.

Ergonomics is based on many disciplines from anatomy to psychology, and its main task is to create such conditions for a person that would contribute to maintaining health, increasing work efficiency, reducing fatigue, and simply maintaining a good mood throughout the day.

Many people think that the area of ​​study of ergonomics is only furniture, but this is not the case. Ergonomics studies all the components of the workplace and recreation area, from the computer mouse to the temperature regime, and tries to establish the optimal parameters for a person for each of these components.

That is why one of the important components of the design project of your premises should be a scaled plan for arranging furniture, taking into account all the laws of ergonomics. After all, it is very important that a skillfully made design, with ideal color and texture combinations, is fully suitable for a comfortable and healthy existence.

Convenience of human life and activity is the main direction of ergonomics. It is an applied science that arose from the generalization of many scientific disciplines.

This science has a fairly large-scale distribution. Even some companies and small manufacturing firms apply the laws of ergonomics in the design and manufacture of their products. This is important because a person needs comfort in any situation, and this is the main principle of this discipline.

Furniture is a generalized area of ​​study of ergonomics, because if you dig deeper, it turns out that this science is aimed at ensuring the optimal parameters of the human environment. These include temperature conditions, sound background, lighting intensity, and much more. Each of these characteristics has a meaning that directly depends on the purpose of a particular place or room. This fact contributed to the introduction of many laws of ergonomics in the construction industry. This is manifested in the fact that the RC City of Naberezhnye provides for the possibility of free planning, sufficient parking space and homogeneity of social character. Smaller amenities include the presence of storage rooms, utility rooms or, for example, laundries in apartments.

Recently, ergonomics has begun to give quite a lot of influence to the lighting of living quarters. This is due to the fact that with the help of light, you can change the interior to suit your mood, which is an improvement in the ergonomics of the room.

When planning an apartment or house, it is necessary not to forget that the interior design solution should breathe modernity and, at the same time, provide a comfortable background that improves the spiritual microclimate in all living quarters.

Ergonomics in interior design

When you enter a room created according to the laws of ergonomics, you act in it almost intuitively, comfort seems to be a natural solution in the interior: the hand can easily find the handle on the door, the switch on the wall, the color makes your presence comfortable, the light is functional and at the same time creates a mood or subordinate to the mood, always individually.

Despite the fact that ergonomics is a science, in the case of interior design it is almost always individual solutions. Your taste, habits, lifestyle, family composition make their own adjustments and this is the norm. The task of ergonomics is that you, as a person, as a person with established or developing habits of life, become a measure for your interior.

Colour. When choosing a color scheme for your interior, be guided by your emotions, or rather, those of them that are capable of creating emotional comfort for a long time. You shouldn't be guided by fashion here. these are always superficial emotions that pass over time. Do you want to make a color accent that creates an emotional outburst, surprising, inspiring? Do it in public areas of your interior: a fragment of a wall in the living room, a painting with a "bright" spot above the sofa with accent pillows, flashy tiles in the guest toilet, a set of square dishes with red saucers, designer wallpaper in niches on the ceiling in the corridor. In the bedroom, do not forget that this is where you wake up, where a new day is born, this is a blank slate of your path. This room is not only light, but also warm in tones that add a drop of sun even on the gloomiest day. What would you like to see first when you open your eyes? - Let this be the starting point for the color scheme. ergonomics furniture lighting interior

Light. On the one hand, it is a purely functional component of the interior, on the other, the play of shadow light as a "regulator" of your mood. It is always good when the room contains at least two lighting scenarios capable of meeting the requirements of the process that is happening at a particular moment, whether it be background lighting when watching TV, individual when reading and working, or decorative, emphasizing the original solution of your room (niches in the wall, ceiling pattern). The light should be individual: sconces, floor lamps, adjustable directional lighting fixtures. The light should unite: a chandelier, a group of spotlights, contour lighting of individual sections of the room. The light can be cold and warm, do not forget this when buying light bulbs. this component can make its own correction to the color scheme of the room. The light should be constant: now there are a lot of lighting fixtures in which replacing a light bulb is simple and will not leave you in the dark until the arrival of an electrician. Light should be safe: Install moisture-resistant lighting fixtures in bathrooms, this will save you additional hassle.

Furniture. With an individual approach to interior design, do not neglect the design of furniture specifically for your needs. It will take some time, but functional furniture, taking into account your height, the dimensions of your apartment, the amount of this or that utensil that you want to place in the furniture, more than compensates for these costs. To a greater extent, this applies to dressing rooms, wardrobes, kitchen furniture, furniture walls in rooms. Ask yourself: do you have so many things that every time you need to go for a chair to get to the mezzanine? Or is your apartment able to withstand more linear placement with an arm's length? When designing furniture, it is worthwhile to provide a place for such bulky things as an ironing board, a folding clothes dryer, a stepladder, if you decide to free your corners, walls outside the door. Any "wrong" bend in your layout can always level the built-in furniture. You can always play with dimensions here. If you have a narrow hallway and a lot of shoes, make a cabinet 15 centimeters wide, this is enough to place shoes along the wall, its height can be as large as you like, light colors and mirror inserts in the doors will make its presence delicate. If you still do not have enough space for furniture, take a closer look, perhaps the wall is just a partition without load-bearing properties, then you can safely make a niche. Such a decision should be blamed on the shoulders of a specialist. in this case, it may be necessary to strengthen the structure of the wall and at the same time take into account the sound insulation with the adjacent room.

Ergonomics in the arrangement of furniture in the premises

Now let's pay attention to each room separately.

· Hallway

If you do not have small children who are just starting to walk, it is most practical to use porcelain stoneware on the floor, it is a very wear-resistant material with good decorative qualities. Such quality as very good thermal conductivity makes it almost always cold, which, in the absence of warm floors, significantly reduces the comfort when staying on its surface. In warm floors, it is worth noting the low reliability of water floors and the expensive operation of electric warm floors. The compromise in this situation is the use of porcelain stoneware in the "dirty shoe zone" and warmer coatings in the rest of the hallway. It is best to place a wardrobe or sliding wardrobe in the immediate vicinity of the front door, this will significantly reduce the time for cleaning the floor and preserve its appearance longer. It is best to cover the walls with paint or decorative plaster, while individual areas that are less prone to wear can be decorated with designer wallpaper. If you have an elderly person in your family, consider providing a handrail or a place to sit.

· Bathroom and toilet

This is the territory of water. Practicality and safety should not be neglected here. All electrical appliances must be moisture resistant. The tiles on the floor should not be too smooth, it is wise to use synthetic carpets or underfloor heating. If space permits, leave room for a compact chair made of suitable material so that you can rest a little and put yourself in order. Provide localized lighting above the mirror for shaving and other procedures. Use glossy, mirror coatings on the walls and ceiling, combine them with a dense texture, small mosaics - this will create the effect of deep and free space. It is worthwhile to provide for the possibility of forced ventilation in the hood, and so that the bathroom does not accumulate condensate and does not resemble Finnish baths, leave a gap of 5-10 millimeters under the door or install an additional ventilation window in the wall bordering the corridor.

Let's start with the smallest room in the dwelling - the toilet. Its minimum dimensions depend, in particular, on which side the door opens - inward or outward.

The minimum size of the bathroom door, taking into account the door flashing, is 75x210 cm, that is, the size of the door leaf (opening opening) is 60x202.5 cm. and if there is a door that opens inward - 90x145 cm.

In this case, the size of the bathroom floor should be at least 135x165 cm. within 160x210 cm; a bathtub, washbasin and toilet are placed here.

Organization of space. A large bathroom can accommodate a lot of different plumbing equipment. Next to the toilet, you can install a bidet, next to the bath - a shower tray or a shower cabin equipped with hydromassage equipment, and instead of one washbasin you can put two.

In the process of designing a bathroom, one should be guided by the principle of maximum compactness in the selection and placement of equipment. It is important not only to find the correct principle of functional division of space with the help of plumbing equipment and other hygiene items, but also to leave enough space for the movement of users.

Below you can see options for installation schemes for plumbing fixtures and equipment.

To use a toilet or washbasin, you need 80-90 cm of the depth of the space. This means that the central axis of the toilet bowl or washbasin should be 40-45 cm from the walls or surfaces of neighboring objects. The second important dimension is the height of the washbasin, which is usually 80-90 cm.

If space permits, then a small podium can be made in front of the built-in bathroom, making it easier to access and exit the bathroom. The width of such a one-step elevation must be at least 30 cm, and the height no more than 20 cm. When the bathtub is recessed into the floor, a gangway must be installed. It must also be remembered that when dressing and undressing, 110-120 cm of free space is required to stretch the arms.

Kitchen and kitchen-dining room

Ergonomic mistakes in the kitchen can lead to serious health problems.

For example, the height of the working surface of the kitchen front should be 85-92 cm. It is designed for the hostess to do kitchen work around it, sometimes with considerable effort. If for some reason you have to constantly cook on a dinner table with a height of 75 centimeters, this can lead to spinal problems.

Remember that the bottom edge of the wall cabinets should rise no more than 55-60 cm above the worktop, and the hood should not rise more than 65 cm. If the top shelf of the wall cabinet is located above 1 m, 73-83 cm, it will be very inconvenient. You will have to reach for the dishes all the time, nothing will be visible, and every now and then you will drop kitchen utensils on your head. But, at the same time, if you want to more fully use the space under the ceiling - anyway, make yourself another row of wall cabinets above the indicated height, just remember that exactly those things that you rarely use should be stored in this row.

The modern kitchen is equipped with so many home appliances that there is sometimes not enough space in the kitchen front to store dishes, and there is no way to create a normal work surface. However, as much as you would like to equip your kitchen with technical means, always save space for your desktop. Its length should be at least 80-90 centimeters, otherwise the hostess will experience a lot of inconvenience and constantly expose herself to a serious risk of injury, and kitchen injuries are always unpleasant.

The modern kitchen offers new possibilities for convenience. For example, the hob can be located separately from the oven. This makes it possible to place the oven not at the bottom, but at such a height that you do not have to bend over. For this, the so-called "column" is used - such an arrangement of kitchen cabinets, when another one is placed between the bottom and wall sections.

It is fashionable in kitchens today to make a bar counter. Its level is higher than the level of all tables - 1 m 5-10 cm. Accordingly, the height of the chair next to the counter will be 60-75 cm.

When planning a bar counter in a small kitchen, try to imagine: whether this counter will block the passage area, whether it will leave the hostess without living and working space.

In the kitchen of an ordinary apartment, two zones are most often organized: a kitchen front zone, that is, a kind of home workshop for cooking and washing dishes, and the second zone - a small home dining room for "friends".

The working height of the kitchen should be adjusted to suit your height. a simple rule applies here: with the arms bent at the elbow, the distance between them and the working surface should be 10-15 cm.And if the oven and the dishwasher are raised to this working height, the load on the back during cooking will significantly decrease. Also, to save effort, let the furniture fittings do some of the work for you.

Living room

A common living room is designed in the form of a single room or two zones interconnected with each other - the living room itself, intended for relaxation and communication, and a dining room - for eating. Usually they try to separate them with furniture, sliding partitions or "buffer space".

Relaxation is generally enjoyable in a calm, intimate environment and is accompanied by additional equipment available nearby. These are racks, cabinets, shelves, a bar, a coffee table, a local lighting fixture (floor lamp, sconce, floor lamp), musical instruments, equipment, TV, etc.

The set of furniture and the joint arrangement of objects are dictated by the number of people, lighting, and the ability to move. The most stable and normalized dimensions of the aisles between items of equipment and the distance to the TV screen (2.5-3 m).

In the so-called "soft zone", the base, the center is the TV. Its rival in some cases is the fireplace. It is around them that upholstered furniture is grouped. The TV screen should be at eye level of a seated person, at a distance of at least 3-5 screen diagonals. It is not recommended to put the TV set in front of the window ("screen facing the light") and especially against the outer wall next to the window ("screen against the light") - the difference in brightness adversely affects vision.

Leisure furniture is designed taking into account the size of a person sitting in a relaxed position, however, the degree of inclination of the seat and back should be taken into account, so as not to make it difficult to get up. The height of the tea table is taken on the basis of the possibility of access to it without getting up from the chair or sofa, only by tilting the body. It should be borne in mind that this is possible only if the legs of the seated person are located under the table, for which the necessary space is provided. Corner sofas should be installed in such a way as to provide an opportunity for the person sitting in the corner to position his legs without interfering with those sitting next to him.

The television screen should be viewed from the side at an angle of no more than 30 degrees, from a distance that depends on the size of the image. The main line of sight, directed to the center of the image, is deflected downward by 7 degrees (the direction of the normal, relaxed gaze).

The external dimensions of the fireplace have a significant impact on the interior design. These dimensions depend on the volume of the room, however, exceeding them will lead to overheating of the room. There is a small area in front of the fireplace where furniture is not allowed.

A bay window (protruding glass part of the room), a floor-to-ceiling window (subject to orientation to a beautiful view and a part of the world suitable for insolation), a winter garden (which can be represented by only one or two plants), a fireplace or a stove will significantly decorate the interior of the common rooms.

We remove errors in the location of the TV:

The plasma panel is located too high or too low: this results in micro-stresses in the muscles of the neck and back, which are invisible at first glance, but, accumulating over the years, they can lead to visual impairment, posture, increased fatigue and osteochondrosis.

For the same reason, it is not advisable to watch TV from the side. The viewing angle should not exceed 60 degrees. Avoid inconvenience.

The TV screen is located on the wall opposite the window - the reflection of sunlight is very annoying and annoying when watching TV. If it is not possible to change its position, then take care of additional protection of the window from natural light (for example, a roller blind made of fabric with a low light transmittance coefficient).

Too high a table has been moved to the low and soft armchairs in the living room. At first glance, a cozy corner of the living room, in which relaxation and communication over a cup of coffee is supposed to be, turns out to be very uncomfortable. It completely destroys the ability to enjoy and communicate. Guests do not stay in this space. Guests and hosts have a feeling of dissatisfaction, and the desired rest does not work out. That is why it is so important when buying and arranging furniture in an apartment to take into account our bodily comfort and to plan the design of one or another part of the interior based on ergonomic standards.

Bedroom

The quietest place in the house is, of course, the bedroom. At least, it should be so, because the main purpose of this room is sleep and relaxation. Bedroom area for one person should be 8-10 square meters; for spouses - 12-14 sq.m. Nevertheless, the convenience of a bedroom lies not in its large area, but in the competent arrangement of furniture.

The interior of the bedrooms can be made in any style, but the rules for arranging furniture for all styles are the same. For example, the width of the main walkways in the room should be at least 70 cm, in the bedroom of the elderly at least 100 cm. The walkways from the door to the window, to the bed and other permanent routes should be as straight as possible, with the minimum number of turns. If on the way from the closet to the mirror you have to maneuver between an armchair, a ficus tree and a bed every day, bruises are inevitable. For the same reason, for miniature rooms, it is worth choosing furniture without protruding parts. Objects with rounded corners are preferred so that a possible impact, especially in the dark, will not hurt so much.

Sleep zones require complete visual, acoustic and psychological isolation. The ideal is to place one bed in a separate room. The length of the berth should be 200-210 cm; the width of a single bed is 80 cm, with a minimum of 70 cm and a maximum of 90 cm; one and a half - 120 cm; double (double) - from 140 cm.

By design, the bed can be ordinary or transformable: pull-out, folding (retracted into the cabinet niche), folding. There are other types of transformation: sofa bed, chair bed. The ideal place for her is near the window, but not in a draft.

It is not necessary to push the bed close to the wall with a window and a radiator under it: the heat dries out the skin. The distance from the outer wall with windows to the end of the bed must be at least 50 cm.If the bed is parallel to the window, then at least 70-80 cm.

A single bed can be placed along the wall close to it, and for a double bed it is better to leave passages on both sides. The width of the passage between two parallel beds should be at least 50 cm. It is better to move the headboard against the wall. Models with a high or wide back are recommended to be installed in the center of a large room, and round models should be sent to a corner. Psychologists do not advise sleeping with their feet to the door, but a diagonal arrangement of the bed is possible.

It is better if the bed is not completely visible from the door. Anything that has nothing to do with a comfortable sleep should not be seen by a person lying in bed. Reflections in the mirror are easy to get scared in the semi-darkness, and the cabinet doors are not the most pleasant sight when you wake up. It is better to install the air conditioner away from the headboard so that the air flow goes parallel to the bed, and not above it, otherwise a cold is guaranteed.

In all cases, a place for storing bedding must be provided in the form of a bedside table, built-in drawer, shelf, etc.

The wardrobe in the interior of the bedrooms is an irreplaceable thing, but bulky. It is recommended to place it in the darkest or farthest corner of the bedroom to make the room seem more spacious. Low, visually light furniture should be the first to come into view.

At least 10 cm should remain between the edge of the doorway and the furniture adjacent to it. Otherwise, you will have to remove the platbands from the door and build a composition of cabinets directly around the doorway: a person will enter a kind of arch.

In front of a wardrobe with hinged doors, it is necessary to provide at least 80 cm of free space for opening: about 50 cm is "eaten" by an open sash, another 30 cm is a passage along it.

The place of the dressing table is by the window. If the head of the bed is reflected in the mirror, turn the table at a slight angle. What to sit in front of the dressing table - everyone decides for himself. The interior and area of ​​the bedroom themselves will tell you what is preferable to buy: a pouf or a chair, or maybe an armchair.

Success in solving a bedroom largely depends on the equipment and decoration of the wall near the bed. To do this, you can use carpets, tapestries, wall cabinets, chests of drawers, paintings. There may be a niche in the bedroom. If its width is more than 2.2 m, a bed can be installed in it, and if it is smaller - built-in furniture or a work table.

If your family has a small child under 3 years of age, he definitely needs round-the-clock care. Consequently, there is a need for equipment for him in a separate corner of the parents' bedroom. It will contain a baby cot. It is positioned so that the light from the chandelier and direct sunlight do not fall on the sleeping child.

To protect him from colds, the bed should be away from the window and away from the possible direction of the draft that forms between windows and doors or between windows located in different walls. If possible, install a combined wardrobe for children's clothing and toys. A place for games is allocated on the floor.

Children

From the bedroom, we move on to the ergonomics of the children's room. When equipping a nursery, you must adhere to the following principles: leave as much space as possible free of furniture; its quantity should be the minimum required; and the size is appropriate for the height of the children.

The activities of preschool children are quite simple: sleep - food - games.

It is best to have a combined furniture wall, which includes cabinet sections, racks, and universal drawers. With the help of such boxes, children can independently organize a play space for themselves, and after playing in them, toys can be folded and pushed into place.

Children love to write and paint right on the walls; it is better if it is a wall board or special wallpaper. The play area is usually located near a window, where it is well lit by the sun and can be kept clean. It is good to put a carpet on the floor, the hanging lamp should illuminate the table, drawing board, carpet at the same time. Beds are placed along the walls at the back of the room.

From the day children cross the threshold of school, their lifestyle, needs, and the world of interests change dramatically. Larger furniture is needed and must include a desk.

The working area is located near the window so that the light falls on it from the left or directly. It is also advisable to locate the zone of games and rest near the window. A horizontal bar or a Swedish wall will not be superfluous.

A table for one student must have a length of at least 90 cm, for two - at least 180 cm. The width of the table is 60 cm, the height is taken in accordance with the height.

Each study area should have its own desk lamp or hanging lamp on the left side. It is advisable to put the table so that the children sit facing the wall. This, to a certain extent, contributes to concentration of attention during classes.

It often happens that children accumulate a lot of books, magazines, drawings, collections that do not fit in a bookcase and clutter up the room. To avoid littering, near one of the walls, preferably from the front side, you should mount the rack to the entire height of the room. The distance between the shelves is 27-35 cm, the width of the shelf is 25-27 cm.

List of used literature

1.Internet search engine yandex.by

.P. Neufert, L. Neff "Design and construction. House, apartment, garden. Illustrated guide for the customer and designer", Moscow, publishing house "Architecture - S", 2010

.Methodical instructions, BrSTU