Ergonomics. Basics of ergonomics in the interior

Engineering systems 23.06.2020

Engineering systems

Arrangement of a home interior allows revealing to a person his creative features and character. The location of objects, their dimensions, compatibility and functionality are made up of the preferences of the residents. The ergonomic design of the room allows you to see the room not only artistically beautiful, but also the most practical.

What is ergonomic room design?

Ergonomics in the interior is a science that has a number of rules and regulations that help make any home perfect. In other words, ergonomic layout contributes to the creation of comfortable living conditions with well thought out details. Let's take a look at what characteristics an apartment should have in order to be considered ergonomic.

What does a studio apartment look like in this style?

The layout of an apartment with an ergonomic design must comply with certain principles:

household items should be located in their places, that is, so that a particular resident is comfortable and convenient;
free movement around the apartment - the ability to freely move around the room without bumping into any objects;
extra things should not be present in the design of the apartment, since housing filled with unnecessary things becomes cramped;
rational zoning of the apartment;
illumination of zones depending on their functions.

And also for ergonomic design in a one-room apartment, it is better to buy functional furniture (folding, sliding, cabinets with plenty of storage space, etc.).

Modern new houses are designed already taking into account the fact that today a person needs to place in it much more household items (than in the time of Khrushchev) for a comfortable stay.

If you make repairs with your own hands (without involving a designer), then you need to calculate in advance what and where will be located or hung.

Ergonomic room designs

Many ergonomic problems can be easily solved if, in the process of preparing for repair work, the requirements for zoning the area of \u200b\u200bhousing are taken into account in advance. Each zone in the room has its own purpose. Therefore, a functional solution for them will allow you to create your own unique ergonomic design.

Space zoning is the most difficult and primary task for creating comfortable living conditions. It can be divided into functional zones in several ways:

partitions made of glass, boards, glass blocks or even a “through” rack;
in the interior of a small living room, beat or build a column that will divide the space into 2 zones;
for an ergonomic kitchen, separate the cooking area from the dining area, for example, using a bar counter or a low partition;
for a small room or room, you can use furniture placed close to each other (for example, put the bed against the back of the sofa).

Also, the play of color shades in the decoration and the correctly set lighting solution will help to separate the zones. A well-being in the use of furniture in an ergonomic solution will ensure the absence of pointed edges and correctly opening cabinet doors.

In the kitchen

Previously, small kitchens were designed in such a way that their space was considered exclusively a place for cooking, placing refrigeration equipment, stoves and a meager working area. Therefore, it is quite difficult to place a variety of modern technology in such a kitchen. The technical equipment of such a room has to choose small-sized, and most often built-in appliances. Furniture is bought in individual sizes for more free movement. Cabinets and shelves are hung around the entire perimeter of the walls, and the window sill is adapted for the workplace.

Arrangement of furniture is carried out taking into account the premises. In the interior of the kitchen of 3 meters, all items and utensils of daily demand should be located "at hand". It is preferable to store dishes in specialized drawers under a small corner sofa. It is better to arrange a furniture set linearly or at an angle. For the dining area, a folding table and chairs or a folding table top are used.

For an ergonomic kitchen design, you need to consider the following nuances:

for comfortable seating at the dining table for 1 person, preferably 60 sq. cm area;
hanging cabinets and shelves should be hung so that their lower level is at a height of 1.5 meters from the floor;
the width of the passage should be 60 cm.

An ergonomic kitchen must also take into account the design principle of the work triangle.

In the bathroom

A combined bathroom and bathroom saves a few meters of floor space, but is not a good solution if a large family lives in the house. For a small room, it is preferable to install a shower cabin. The distance between objects in a connected bathroom must be at least half a meter. Doors are best installed folding or sliding to save space.

In a separate bathroom, there is usually enough room to open the door, but many prefer to install the toilet either sideways or suspended for ergonomic space saving.

Bedroom

The bedroom is a resting place and it is also characterized by ergonomics, so extra items are also useless here. As a rule, a sleeping place is placed in the central part of one of the walls, small cabinets are placed nearby and a wardrobe or chest of drawers is located. Many install a dressing room, which is fenced off with a sliding screen. For good space in the bedroom, it is better to purchase a tall and compact wardrobe.

If space permits, then you can build a small "study", for example, place a desk or computer desk. However, it must be taken into account that this zone should be located as far as possible from the bed.

Children's

The main principle of an ergonomic children's room should be safety. In the design of the room, it is desirable to exclude sharp corners, slippery flooring, carpets and rugs, that is, everything that can injure a child.

When 2 or more children live together, it is advisable for each to allocate a small personal space. For an ergonomic children's room 9 sq. m. it is better to purchase a bunk bed on which it will be convenient for the children to lie. This will save space for the play area.

Furniture in the nursery should not occupy more than 30% of the space. Therefore, near one of the walls you can put a compact Swedish wall or hang a horizontal bar in the doorway. But, do not forget that when furnishing a nursery, 70% of the space should remain for normal physical development, that is, the child can move freely, run, somersault and play.

Summing up, we can say that in order for the apartment to become as ergonomic as possible, in some cases it is enough to simply remove all unnecessary, and replace bulky furniture with modern compact ones. All interior items should be selected very carefully and according to their purpose, color scheme and shape. Modern ergonomics will help to revive and create complete comfort in any room. Therefore, be creative and imaginative when furnishing an apartment or use ready-made design solutions that are freely available on the Internet.

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Ministry of Education and Science of Ukraine

Kharkiv State Academy of Design and Arts

Department of Graphic Design

Essay on discipline Fundamentals of design methodology

Prepared by: senior group GD (Z) -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 study. 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 the block of operational tools and methods of ergonomic research, which determines the specifics of ergonomics as an applied scientific discipline. The goal of ergonomics is to increase 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 prerequisites for the development of his personality. A human operator is any person who operates a machine: an airport dispatcher, a machine operator, a housewife at the stove or with a vacuum cleaner, etc. -- to 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 more generalized concepts of "product", "object", and instead of the term "operator" to use designations suitable for this action - "consumer", "viewer", etc. P.

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, armrests, seat height regulators, equipped with wheels for movement, a comfortable back with a bend in the shape of the spine, 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 form of a female body. With a solid non-adjustable seat, without armrests, with a non-functional backrest, the 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 aesthetic object 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 shape. Interest in the form of an object may be dictated by vital necessity, or it may be caused by the beauty of the form. The form, which is based on a combination of symmetry and the golden section, 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 relationship to each other and to the whole. The principle of the golden section 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 picture has certain points that involuntarily attract 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 figure shows a girl surrounded by men with the heads of hares, 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 picture as a whole is built on diagonals and perspective. The lines passing through the picture add dimension to it, so for example, D1 is the diagonal of the picture, D2, D3 and D4 are lines parallel to it that subjugate the movement of the composition as a whole

I chose a Segway-style stroller (Ascanio Afan de Rivera) as a model for industrial design.

The ratio of elements of the stroller selected? and I didn’t find 1/3 of the principles of the golden section here, but I liked the model, concisely, brightly, without frills.

Conclusion: the golden ratio plays a huge role in the work of artists and designers. even if we can't recognize it, I think it's still there. Creating the integrity and completeness of the work, creating a certain meaning and compositional center, this is what the golden ratio gives.

3. 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 current 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 do not use the external forms of wildlife, but only those properties and characteristics of the form that are an expression of the function of an organism, similar to the functional and utilitarian aspects of the graphic form. From function to form and to patterns of shaping - this is the main path of designer bionics. The use of the laws and forms of wildlife in design is quite legitimate. The evolution of living organisms and graphic images are based on the same principles, determined by the interaction of forms and functions. Living nature has a tendency in the process of its development to strive for every possible saving of energy, building material and time. The law of the 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 shaping of living structures in a constructive way, and not just for the purpose of some formal searches.

Three years ago, the Mercedes Benz Corporation developed a bionic vehicle copied from a tropical bodyfish. 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 is benefiting from ever faster computers and the expanding possibilities of microtechnology: scientists can now 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 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 improvements in design, both in craft and industry, would reflect positively on the country's future prosperity. Germany, which did not have cheap sources of raw materials and did not have markets for inexpensive goods, could compete for a place in the sun only 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 only people with an artistic taste, but oriented towards machine production, could achieve such a quality. Industrialization and German nationalism encouraged the revival of "originally 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 formed within the old traditions of culture and economy, whose free experimentation has resulted in dynamic and individual forms. “If other countries have a design theory, then Italy has a philosophy, even an ideology of design,” says Umberto Eco. The philosophy lies in the very style of life of the 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: every Italian master has an internal, classic module of beauty. This sense of beauty, color and form is everywhere. After the Second World War in Europe, Italy came to the fore in the field of design, the economy of which is experiencing rapid development. Italy, which did not stand out in anything special in the field of design before the war, became, 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 offering new, almost limitless possibilities of shaping. Italy has become the leader of new beginnings in design. This dominant position was especially evident at the 1972 exhibition “Italy. New Inner 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, there is no museum of design, futurism as a formal and compositional basis of the international style was born prematurely, many designers are professionally in the intermediate zone between architecture and spontaneous creativity, works are 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 postmodern visual language in design belonged to the Italian avant-garde design 1980s The Alchemy group arose 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 to 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 developing some original artistic design language, but experimenting with new materials and technologies: polyester resins and laminates, polyurethane foam and films with printed patterns. Nevertheless, this group had an impact 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, Maurizio Vogliazzo. One of the most famous works of the group is the exotic "furniture" for sitting and lying in polyurethane "Pratone" (large meadow, 1966-70). In the 60-70s. the group was exceptionally active in promoting radical design in Italy, speaking at various seminars and also publishing essays on design theory. Global Tools Free School Laboratory for Design In 1973, members of various radical design groups united around the Casaballa magazine, whose was Allesandro Mendini. All this eventually led to the organization in Florence in 1974 of "Global Tools" - a school of radical design and architecture. Its goal was to develop the study of non-industrial methods of production, the promotion of individual creativity. Global Tools has opened several workshops that develop a do-it-yourself design approach and explore the potential applications of engineering materials. Global Tools tried to combine ordinary people and professional designers into a single design process based on creativity. In 1975, the school of radical architecture and design was dissolved and the radical design debate quickly lost momentum. During its existence, 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 not realized. But this current paved the way for the emergence of new leaders in pop design, Alchemy and Memphis, who effectively and comprehensively updated Italian design. By questioning established design canons, the leaders of radical design laid the theoretical foundations for the Post-Modernist stylistic movement, which originated in the late 70s and flourished in the 80s. gg.

Development of design in France.

France had stable traditions 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 objective environment by means of architecture and design, for a comprehensive revision of the world of things surrounding a person. 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 a scope as in other major European countries and the USA, however, a number of major French associations and firms - Air France, Aluminum Francais, 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 (Christian Dior, 1905-1957) Outstanding French couturier, creator of the "new style" ("The New Look") in the fashion of the post-war period, founder of the company "Dior".

Development of design in England.

The development of design took place under the sign of increasing the competitiveness of English goods. In 1944, with the aim of "contributing by all possible means to raising the artistic and design level of products manufactured by the industry of Great Britain", the Design Council was created - an official organization that enjoys a state subsidy. The Council launched a broad campaign simultaneously in two directions: among industrialists, urging them to involve designers in the creation of new products, and among wholesale and retail buyers, instilling in them high demands on the quality of manufactured goods.

Since 1949, the Council has been publishing the Design magazine. Under the Design Council, the Design Center was also created - a constantly updated exhibition of the best design products. The center also has a card index of British designers, which provides the necessary information to customers who wish to use their services. In 1957, the Design Center Awards were established, which were given annually to the top 20 products of industrial design. Douglas Scott (1913-1990) Britain's first professional industrial designer. Spouses Robin and Lucien Day in the 50s - the leading designers of Great Britain. Thanks to their youth, talent and optimism, they became a symbol of the post-war period, glorifying Great Britain all over the world. Ernest Race (1913-1964) played a prominent role in the post-World War II development of modern furniture design in Britain. Reis's work became the basis for the subsequent emergence of the concept of "Contemporary Style" (Modern style) for light organic furniture, different from 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 post-World War II development of modern furniture design in Britain. Reis's work became the basis for the subsequent emergence of the concept of "Contemporary Style" (Modern style) for light organic furniture, different from 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 mastery of 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 occurs only at the end of the 20s under the influence of the crisis of overproduction, which entailed the process of monopolization of the economy and the development of industry. In this situation, the first major center of modern design is being formed in the United States. Thus, it can be stated that by that time a specialist had been formed, whose activities were aimed at creating the objective world that surrounds a person, i.e. designer. This is how American industrial design emerges, which is a universal development model "design for all". Meanwhile, the initial period of American design has no theoretical justification, but the issues of beauty and form, their relationship in the industrial product, worried scientists, among them: Horatio Greeno, John Griffiths, Walt Whitman, Frank Lloyd Wright, Arthur Poulos and others.

Development of design in Japan.

The Japanese school of shaping is one of the few in the world that has a unique recognizable aesthetics and an organic combination of national tradition with world achievements. In the process of development, Japanese design as a kind of design and artistic activity largely repeated the same stages of formation as the leading design nations. It can be said that over the past twenty years, Japan has become 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 refinement and harmony of which has always amazed foreign connoisseurs. Indeed, in the formation of the objective world, the Japanese from ancient times adhered to the concept, which is based on functionality, conciseness and purity of form. Design as a design activity in Japan originated and was initially developed within the framework of traditional craft culture using advanced Western techniques and technologies. A close connection with traditions is an important feature, since, unlike European, Japanese design at the first stage of formation did not know the gap between the aesthetics of an object made by an industrial method and a handicraft product. This was also facilitated by the attitude towards 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 of both aristocratic art and various types of applied art. Practicality, utilitarian beauty of objects, symbolism, stinginess in expressive means, simplicity of composition, conciseness and naturalness of forms. In 1901, the department of industrial design was opened at the Tokyo Higher Polytechnic School. 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, Moholy-Nagy. The theoretical ideas of the Bauhaus and Russian constructivism in Japan were promoted by the private Institute for the New Architecture of Industrial Art, opened by Renshichiro Kawakita in the early 1930s. Also an important role in the development of design was played by the Institute of Industrial Arts under the Ministry of Commerce of Industry, established 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 characterized as the initial period of its formation. The main feature of design as a design and artistic activity in Japan was that it was born in the depths of the craft 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 transferred from Europe and America, and their own, arising on the basis of centuries-old cultural customs, aesthetic ideas and art forms. This is a design concept that focuses on the humanization not of technology as such, but of the environment created by it, on design that goes not from technology to man, but from man to technology, much in common with those features of the material and artistic culture that have 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 as a plastic whole. Traditional Japanese architecture, landscaping, 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 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 the peoples, adjusted for economic instability and political games. Each of the countries still went its own way of becoming a design. She reached a certain level and chose her direction.

5. Eero Aarnio (Eero Aarnio)

“When I start designing for a new brand, I should have the feeling that anything is possible, and it will be if I have a good professional background. As a designer, I am closer to painters, sculptors, but in my field it is impossible to be an artist without also being a technician.”

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 pop culture era. 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 own studio and works on interiors and industrial projects, as well as as a photographer and graphic designer.

Absorbed by the idea of creating new furniture, Aarnio designs his most famous Ball chair (Globe, Ball, 1963-1965) as early as 1963. It was put into production 2 years later. The material (fiber glass) and the shape of the chair were a complete innovation for the furniture industry of that time.

The Ball Chair is a "room within a room" with a cozy and peaceful atmosphere, protected from external sounds and providing privacy for relaxing or talking on the phone. Rotating around its axis, the chair allows the person inside to see the surrounding space and thus not feel completely isolated from the outside world.

According to Eero Aarnio himself, the idea of creating a chair was obvious. “We didn’t have a big armchair in the house, so I decided to create one, but in a way that was completely innovative.” Having made several sketches, Arnio decided on the form, 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 chair model that Eero Aarnio made himself is still in his own house. It was this chair that two young managers from Asko saw in the designer's house. It took another 2 years to release the chair into production.

In 1966, Ball was presented at a furniture exhibition in Cologne. The armchair became an exhibition sensation, brought Aarnio worldwide 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 chair (1967-1968), for which he won the American Industrial Designers Award in 1968, and the Bubble chair (1968). These bold, tradition-breaking pieces of furniture capture the design spirit of the 60s.

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

Pastil Chair (1968) and Tomato Chair (1971) confirmed the designer's reputation as a master of inventing new forms, unusual in appearance, but extremely comfortable for the human body. Of the Ball and Pastile chairs, The New York Times wrote: "It is the most comfortable form to hold the human body." The use of the 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 Aarnio models offer a variety of uses. So for many years the designer was haunted by the idea of a chair that could be used both for conferences and for the home (in the same vein 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 the so-called “Focus Chair” as an addition to it, which would meet his requirements.

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

The naturalness of the form, comfort, brightness and ironic subtext of Aarnio's projects could not but be appreciated by the children. Moreover, the designer gave the look of toys to some pieces of furniture. This was the case with the Pony (1973) and Tipi (2002) projects. While these objects look like big toys and are great for kids, they are also comfortable for adults. “A chair is a chair… but what one sits on doesn’t 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 can be mounted or squatted on the side.”

In 2005, Aarnio created children's pieces of furniture 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 of use, colorfulness and playful overtones. No matter how the child turns the Trioli chair, he will be able to sit on it (at the same time, the seating position 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 was awarded the Interior innovation award cologne among 18 other projects.

All projects by 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 a prestigious industrial design award - the Compasso d "Oro Award for the Trioli chair model designed for Magis.

Conclusion: I like the work of this designer, as they inspire the creation of something new from something previously unused. Aarnio is a role model for many young designers, and not only in the final result of his work, but also in the way to achieve the goal, his courage and innovation are mixed with a sense of self-satisfaction from the result obtained, 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 fell sharply due to the decline in production.

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 system of design and ergonomics, which is formed and operates at this time, consists of:

Professional structures that include the Design Council at the Cabinet of Ministers (coordinating body), the main organization of 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;

Product consumers of design-ergonomic activity (organizations and enterprises that carry out an order for design design to create their products, structures of different forms of ownership that sell products created for design projects, organizations that control the quality of these products).

The objective factors that necessitate the development of design in Ukraine are:

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

Declared by the Government as the immediate goal of "permanent 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 solving the problems of improving the carelessness and quality of goods and the environment of human life, the creation of a single "regulatory field" in these areas;

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

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

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

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

State stimulation of the development of design (primarily industrial).

The identified problems are envisaged to be solved on the basis of:

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

Carrying out 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 identified in the Concept, in accordance with the state program developed on its basis.

The concept is developed as an open one, with the possibility of subsequent definition 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 is impossible without the involvement of specialists in the production of industrial products, giving them a priority role at all its stages: design, examination, sales forecasting and the lack of research that systematically covers the above 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 were given the right to open certain specialties, has led to the fact that over the past 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 the proper experience, qualified teaching staff, or methodological support. Even in educational institutions that have accumulated considerable experience in the training of designers, today there are problems that need a scientific solution. An analysis of the situation that has developed in design education reveals the second group of factors regarding the relevance of the issue.

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

Conclusion: The basis of the modern model of a specialist is the principle of forming a new type of designer-generalist.

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Sanctioned landfill

It is customary for Italians to start the New Year by throwing old things out the window. Of course, it is hardly worth subjecting the neighbors below to such serious tests, but, nevertheless, this tradition is a wonderful way to start changing the life and life of the family. So the first thing to start with is a rearrangement or - from moving all kinds of junk from all the secluded corners of the apartment straight to the trash heap. However, it is still impossible to completely get rid of old things. One thing causes a nostalgic smile, the second was inherited from your husband's second cousin's great-grandmother, the third may "suddenly come in handy", etc. Therefore, you need to take this junk a warm place. Let it be a box, an old bedside table or a drawer on the balcony. Then all the rubbish will be stored in a specially designated place and will no longer creep around the house. There is another plus - sooner or later the box (bedside table, drawer, etc.) will run out of space and then you still have to solve the problem of which of this junk has the right to gather dust further and which does not.

An important rule: do not propagate authorized landfills in a single apartment! There should be only one place for trash!

Large family - large areas

Functional minimalism is a style that is very popular in Europe. It involves the use in the apartment (house) of only the most necessary pieces of furniture and interior. Of course, European apartments, even the smallest ones, differ significantly from Russian ones, but if you make some efforts, you can achieve stunning results. The amount of free space, both real and visual, directly depends on competent design, which is also important.

Recently, it has become especially fashionable to combine rooms by demolishing "extra" walls. However, this decision is a double-edged sword. There will certainly be more space, but the inhabitants of the apartment may have psychological problems, since each of us sometimes still needs our own corner. In addition, in a large family it is completely inconvenient to combine, for example, a bathroom or a room with a kitchen. We will have to use another newfangled solution in our small-sized conditions - zoning.

The basic principle of zoning is the division of the entire living space into two zones - private and common. Therefore, if conditions permit, the kitchen and dining room can, of course, be made into a single space, but then this zone will be the only common one, the rest will be private. As a rule, in a family with children, this is possible only if there are three rooms in the apartment. If there are only two rooms, then the use of wardrobes and folding sofas will allow, with a slight movement of the hand, if necessary, to turn a private area (for example, a bedroom) into a common one (living room). And if there is only one room, then the living room will have to be "evicted" to the kitchen. Modern built-in appliances and compact kitchen furniture allow us to make the most of the space available to us. It remains only to solve the problem of how to divide the only room into a nursery and a bedroom.

This is where the second principle of zoning comes to the rescue - the semantic transition from one part of the housing to another. It is good if the zones have some kind of separation - a partition, a narrow rack, an original curtain (made of bamboo, feathers, glass prisms, copper coins, etc.) or a low podium. In extreme cases, the semantic transition from one zone to another can be formalized with the help of color and light. For example, using wallpapers of different colors or different textures allows you to achieve the desired effect. However, it is worth remembering that contrasting furniture and generally contrasting colors visually narrow the space. Therefore, if you want to keep it, then try to use warm and close to each other tones: white, light yellow or gray, beige, cream or pink. It is also best to refuse bright colors and rich patterns.

It is best to choose wallpapers with a rare and light pattern located vertically, or to do without a pattern at all - this will allow you to "push" the walls and "elevate" the ceiling. You can use mirrors (from floor to ceiling) or put a mirrored wardrobe. Each of the zones can be illuminated in different ways: with the help of compact chandeliers, sconces and spotlights.

It is equally important to "open" the windows. To do this, you will need to sacrifice grandmother's heavy curtains, it is better to change them to blinds, light-colored fabric curtains or roll-curtains. Then you will win another piece of space outside the window, previously hidden by a heavy fabric.

Balcony - sanctioned landfill or functional area?

What's on your balcony? Unauthorized dump? Warehouse of unnecessary things? So get rid of them. If there is something you need on the balcony (skis, sleds, pickles, marinades, etc.), then you can find another place for all this. For example, a mezzanine, a pantry, or some inconspicuous niche from which it is easy to build a mini-warehouse for things that require long-term storage. If the apartment does not have mezzanines, then they can be made independently and it is not at all necessary to use an already crumbled corridor for this, mezzanines have the right to exist in the room. After all, this is not only a piece of plywood nailed under the ceiling and covered with a dusty curtain. Modern designers have even managed to turn such an attribute of our "soviet" childhood into a real decor element that hides many useful things and expands the space above your head.

Thus, the balcony (or loggia) will become a functional part of the apartment, from which you can make a seasonal recreation area, a small insulated winter garden and even a summer bedroom, if you hang a good Brazilian hammock or put a compact folding bed.

If you competently insulate the balcony and take out the battery on it, then it is quite possible to remove the window and the balcony door and get some more usable space in reserve. But it is very important not to forget to register your balcony innovations with the BTI, otherwise you will be fined for illegal. It’s easier for those who have an apartment in a new building. In most modern houses, batteries and double-glazed windows are already included in the basic package of a balcony, but in old houses, such a "repartition" requires appropriate permission.

This is Sparta!

For proper growth and development, every child (and not only a child) needs sports. Do not be upset if you can’t fit a whole sports corner in a small apartment. It is quite possible to get by with its individual parts, which are sold in many sports and children's stores. This even has its own advantage - individual parts of the sports corner are, as a rule, cheaper than the entire complex.

For small apartments, Swedish walls are very convenient, which are mounted vertically to the wall from floor to ceiling, take up little space and allow you to “hang” other equipment, such as a bench press board, a removable horizontal bar, a basketball hoop. In addition, the horizontal bar attached to the "wall" can be rearranged in height as the child grows, just like a basketball hoop. Another advantage of the "walls" is that they are easy to manufacture, and therefore many manufacturers produce models of non-standard sizes and to order.

If it is not possible to put a Swedish wall, then the horizontal bar can be placed in any doorway. While the child is small, it will be convenient to hang a swing on the horizontal bar and attach jumpers, and when the baby grows up, it will be possible to use the crossbar for its intended purpose and also attach rings, a rope with knots or a punching bag to it. And don't forget the mat! If you look carefully, you can find compact mats of small sizes for sale.

Many sports stores also sell folding treadmills. Such a simulator will save all family members who keep fit from having to look for a "green" zone nearby, and will provide an opportunity to run at any time of the year in any weather conditions.

Important unimportances

The Japanese went furthest in matters of space ergonomics. Under the floor of their houses, they store a wide variety of things; for this purpose, they have invented a whole system of mobile and secret boxes that move along specially designed skids like "tags".

Of course, we are far from the Japanese, especially when you consider that our houses are increasingly being built of concrete according to standard designs and do not provide for such structures in any way. But if high ceilings allow you (in "Stalinist" houses, for example) and the immodest budget of this event does not bother you, then you can try to order such a system for your home straight from the birthplace of this invention.

If your budget is more modest, you will have to turn to more congenial manufacturers and trust their decisions. By the way, most developers have not come up with new sizes for economy class furniture for a long time. After all, as a rule, its main goal is to save space. Therefore, all the most convenient furniture parameters and the distances between them have long been calculated and look like this:

desk/dining table height - 750 mm;
chair height (seat) - 450 mm;
the height of the kitchen table (as well as the stove, washing machine, etc. working kitchen surfaces) - 850 mm;
height of hinged shelves (cabinets) in the kitchen - from 700 to 1000 mm;
distance between kitchen tables and suspended floors (cabinets) - from 450 to 600 mm;
depth of kitchen tables - 600 mm;
depth of the linen closet (internal size) - from 550 to 600 mm;
coffee table height - from 500 to 650 mm.

A lot depends on the interior design, whether your home will be comfortable, bright and cozy, or vice versa - small, depressing and gloomy. Therefore, if you cannot plan the space yourself, then it would be better to invite a specialist. There is an opinion that interior designers work only for the benefit of well-to-do citizens in luxurious mansions and dimensionless penthouses. However, practice shows that true professionals do not shy away from small apartments. For some aces, the task of "how to squeeze the maximum benefit out of a minimum of space" is a kind of gambling, something like "outsmart the space." Therefore, true professionals will be able to think over the design of your small-sized housing to the smallest detail and create the most comfortable and original housing from a small apartment.

The relationship of a person with the objective world is not limited to simply admiring the aesthetic merits of objects. It is important that the objects around us are not only beautiful and aesthetically pleasing, but also convenient, comfortable to use, corresponding to its physiological and anatomical features. 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 surrounding objects we maintain good health, our fatigue would decrease, our mood would increase, the efficiency of work or rest would increase. Today, ergonomics has become one of the significant components of industrial, object and interior design.

The concept of ergonomics, purpose and origins

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

In a broader sense, ergonomics means a scientific direction that explores a variety of objects that are in close contact with a person in his daily life, that is, both in the workplace and at home. 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 the UK. In America, this field of knowledge was originally called "Human Factors Research", 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 a person. Primitive people tried to select a suitable stone for the shape of their hand, processed it and attached a handle to it to increase 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 convenient as possible. Archaeological excavations today provide us with the opportunity to admire how thoughtful were the tools created by primitive people.

However, the real impetus to the development of ergonomics was given precisely at the beginning of the 20th century, when problems arose related to the introduction of new equipment and technological solutions into production. Scientific and technological progress provoked an increase in injuries at work, a deterioration in the mood of workers and other problems that ensured high staff turnover. Workers had to adapt to production equipment and workspace, which often did not guarantee their safety and high production efficiency. Therefore, ergonomics issues 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 work activity in such a way that the performance of production tasks was as safe and convenient as possible for a person. Thanks to the introduction of an ergonomic approach, a new type of industrial equipment began to be designed with warning signals (signal lamps and sirens), convenient sizes of buttons, handles and levers.

Ergonomics is based on the fact that a person should easily find, quickly distinguish from each other a variety of objects (equipment) and work comfortably with them. In the 60s of the last century, ergonomics was already formed as a scientific field 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 21st century, three main directions within this discipline were identified:

Ergonomics, which considers the problems of the relationship of a person with the physical environment. This area studies issues related to the anthropometric and physiological characteristics of a person that are directly related to his daily life or physical labor.
Cognitive ergonomics. This area is related to the psychology of perception, in particular, how visual or other perception affects decision making, the relationship between a person and other environmental objects.
The direction of ergonomics that studies the relationship of a person, groups of people with technology to ensure the best working conditions. Such organizational ergonomics also considers issues of communication between individuals, their joint cooperation and management.

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

Gradually, the field of application of ergonomics moved from work to our ordinary daily life. Today, ergonomics, closely intertwined with design, is used 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 improve the labor efficiency of a person by improving working conditions. Ergonomics 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 have an impact on the pleasure of using a particular item, so it is not surprising that these two separate areas flow seamlessly into each other. In various industries, professional designers are currently collaborating with ergonomics specialists 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 being developed for new items 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 your teeth, a digital SLR camera that feels comfortable to hold, or industrial equipment that provides a high level of safety. Comfort, excellent functionality and attractive appearance - all these requirements for created objects can only be provided by a competent combination of ergonomics and design.

One of the main concepts that ergonomics operates with is the anatomical features of a person. Anatomical factors are widely used in design. The task of the designer is to ensure that the created products are adapted to a specific person, so that the latter can use them conveniently and comfortably.

In particular, when designing an ordinary chair, designers consider how high the curved back should be placed from the seat so that the person's back can comfortably lean on it. To answer this important question, experts turn to ergonomics, in which such a concept as the Ackerblom Line has long existed. This is an average value that determines where our spine has a corresponding inward bend in the lumbar region (approximately 23 cm). Support for the spine must be provided exactly 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 like quizzes or sheets, through which data is collected about what is somehow connected with various factors in a person’s daily or work activities, 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 considers all issues related to the components of the 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 designing furniture and creating space for a seating area, designers start from the anthropometry of a person who sits in a relaxed, calm posture. Be sure to take into account the level of inclination of the seat in order to ensure the convenience of getting up from a chair or chair. In a variety of recreation areas, corner sofas are often installed, and ergonomic rules require the designer to arrange the 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 people around him.

In residential areas 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 long side along the outer wall of the room or the head of the sofa in a somewhat cramped space.

Particular attention is paid to ergonomics in the organization and design of space for work. Interior designers have to start from the anatomical features of a person who sits at his desk. For example, when designing a zone behind a working computer, ergonomics focuses primarily on the length of a person's shin, since it indicates the optimal height of his chair or chair. The ergonomics of the working area also provides that the height, area and slope 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 increased attention of the designer to the organization of lighting. Lighting should not be intense and too bright, so as not to blind or unnecessarily irritate a person's eyes. It should contribute to comfortable work and a positive mood of a 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 space planning. It is a complex discipline that, to varying degrees, affects all issues related to the field of activity of a professional designer.

Ergonomics is a branch of science based on physiology, engineering and psychology. It aims to align the functionality of tasks with the human needs of those who perform them. Ergonomic design focuses on the compatibility of objects and environments with the people using them. Ergonomic design principles can be applied to everyday objects and workspaces (hence the name - ergonomic interior).

The word "ergonomic" means human engineering. Ergonomic design is said to be human oriented, usability oriented. It aims to ensure that human limitations and capabilities are met and supported by design options. In an ergonomic environment, equipment and tasks will be aligned.

Mass production of products does not take into account that people come in all shapes and sizes. Stool ratios that work well to support a 6-foot-tall body frame can add stress and challenges for a smaller person. Mass production can make it difficult to use the most common products. Considerations such as the size and shape of tools and how they fit into the hand that will be using them are important to ergonomic design.

A complete understanding of the specific tasks for which an object is intended is central to achieving the ergonomic design goal of assisting the human form in their performance. Good ergonomics are believed to reduce the risk of injury and error by ensuring that technology and humanity fit and work together. Improved accuracy and more efficient performance are achieved by meeting human needs with technology. The quality of life is also improving.

Poor lighting and glare from computer screens in workplaces can reduce productivity by adding complexity. Ergonomically incorrect lighting can lead to neck deformity or eye fatigue and shorten the time a worker can complete a task in this environment. Ergonomic lighting can make the same task easier by improving the ability of workers to see, reducing neck and eye strain, and allowing them to complete a task longer and more efficiently.

The need for ergonomic design is thought to have arisen during World War II, when it became apparent that military systems could be more effective if they considered the environmental demands of the soldiers who operated them. Since the incorporation of ergonomic changes into some military systems, efficiency and effectiveness have been improved as well as safety. The number of manufacturers recognizing the benefits of ergonomic design principles continues to grow.