Influence of human emotions on the perception of residential interior ecodesign

Abstract

Relevance of the research topic, analysis of publications. Environmental design is based on the main idea – not to harm humans and nature. The ideas of environmental design are interconnected with the ideas of emotional design, engineering, design for pleasure and others. The last two decades have been marked by a growing interest of the researchers in the emotional reactions of consumers to the ideas of introducing environmental design. Around the world, many scholars, such as M. Woolley (2003), P. Desmet (2003), P. Jordan (2000a) and others, have studied socio-cultural and compositional features of ecodesign during the past 10–15 years that allows us to highlight some new trends in it related to the emotional component and perception of design objects. The objectives and methodology of the study. This article is the first attempt to analyze the influence of ecodesign ideas on interior design in order to maintain the stability of the human factor and follow an ergonomic system. A methodological approach based on the use of comparative and historical-logical methods allows revealing and analyzing the ideas of ecodesign for interior design taking into account the influence of the human factor and associated ergonomic indicators. The research focuses on the emotional side of consumer choice before buying or accepting an object and design style. Research results. The modern researches have proven (Desmet, 2003) that positive emotional experiences are important for making design decisions. More and more often, developers must take into account the ability of a product to generate positive emotional states in a person for a long time. Interior ecodesign, aimed at a two-way interactive customer-design product interaction, appeals to the positive human emotional experience of communicating with nature and seeks to use natural materials (or materials from secondary raw that help conserve nature). Nowadays, one of the world trends in design is a new look at the artistic organization of environmental systems, connected with environmental ideas and a sense of unity of man and nature, expressed in the concept of a unified multidimensional object-space environment based on behavior of consumers. Also new synthetic art forms appear that add to the traditional triad of “architecture – painting – sculpture” the other varieties of creativity (from engineering to scenic), forming in entire a synthesis of all components of our environment at a new level of perception. Practical achievements in the environmental design of the environment, including the interior, are possible thanks to the solution of purely professional tasks. By analogy with architectural design, we will distinguish three main groups of the tasks of an interior designer: the artistic formation of the configuration of the interior space; design of shapes of its subject filling; designing “image of interior” embodying the personal attitude of the designer to the tasks assigned to him through a system of design forms and techniques that cause certain emotional reactions and feelings in the recipient-customer. Creating a positively impactful from designing “image of interior” incorporates an emotional human factor into the consumer incentive system. The influence of eco-design ideas on consumer choice is realized through the feelings and emotions of the user, stereotypes and tastes of customers, intentions to acquire a new object. In turn, the features of consumer perception of any interior space are due to the unity of subjective and objective factors forming a holistic “image of the interior”. For example, unlike the exterior, the interior of an architectural object is a set of spaces organized in accordance with the function of the object, the simultaneous visual perception of which, as a rule, is impossible. The aesthetic perception of the interior is a change of diverse impressions, much more complex than with the perception of the exterior of the building (Woolley, 2003). It is necessary also to take into account the uneven perception of various compositional components of the interior, in accordance with their scale (size) and function significance (for example, in the interior of a museum hall, attention is primarily focused on exhibition materials). Modern practices in the design of eco-interiors that take into account environmental and ergonomic factors, support the idea of synergy, a complex effect on the emotions of consumers of external architectural elements and their interior filling by objects when approving design decisions. Creation of optimal conditions for work and rest of the person is facilitated by ergonomics, taking into account a complex of factors, from which psychological and psychophysiological determine the object’s conformity to the possibilities of human perception, thinking, memory, psychomotor. Summary. Thus, the ecodesign of interiors is based on aesthetics and ergonomics in conjunction with environmental factors and respect for nature through the rational functional use of natural materials and shapes. It is this approach that allows to create the most comfortable, emotionally filled environment for human life. The work with feelings and emotions of consumers can and should be used by modern designers to improve the customer’s perception of new environmental solutions.