Aesthetic requirements for furniture products

Considering the aesthetic requirements for furniture, it is necessary first of all to consider the following: first, furniture, like any product of human labor, is created to meet practical human needs, and secondly, the creation of furniture, its design and manufacture is dictated by a whole set of requirements, including including socio-economic, functional, industrial and technological, ergonomic, constructive and aesthetic. All these requirements do not act in isolation, but in close connection with each other, determining the most rational form of a furniture product or group of products.

Thus, considering any group of requirements, including aesthetic ones, one should not forget that this is largely a conditional method, convenient for a more in-depth consideration of one of the parties to the creation of furniture. In real life, in the process of designing, manufacturing and evaluating furniture, they proceed from taking into account the entire complex of modern requirements. At the same time, each group of requirements has its own specifics and finds its own means of reflection in modern furniture, which makes it possible to distinguish aesthetic requirements as a special group.

Taking into account the features of modern furniture, covered in Ch. II, it is advisable to consider the aesthetic requirements for it on two levels: | level: requirements for furniture products as part of the interior of a room, as an element of the internal subject environment.
Level II: requirements for a furniture product as an independent object of aesthetic perception, regardless of the composition and aesthetic qualities of the interior as a whole.

The general requirements that form the I level of aesthetic requirements relate to those parties to the solution of furniture products that ensure their harmonious inclusion in the internal subject environment of architectural structures. This is primarily the convenience of placing furniture products or their set in a room of a specific purpose, coordinating the size of furniture with the size of the room. It should be especially noted such a means of ensuring the aesthetic unity of furniture products and elements with the interior, such as modular coordination of sizes, which makes the furniture variability possible due to the interchangeability of its elements and ensures harmonization of the proportions of the main elements of the interior, including furniture.

Speaking about the visual compatibility of the internal environment and furniture, it is necessary to emphasize the need for a single large-scale solution. Such a large-scale compliance is provided by the ratio of the dimensions of all interior elements, including furniture; to the size and proportions of a person. The scale of the furniture should take into account the characteristics of the group of people for which it is intended. As the most illustrative example, the solution of children's furniture can be given, in which they strive to reflect the specificity of the proportions of the child’s body. One of the important aspects of aesthetic requirements, the fulfillment of which contributes to the improvement of the artistic quality of the solution of the entire interior as a whole, is also the large-scale structure of its parts and elements, including furniture.

Considering the aesthetic requirements of the first level, it is necessary to take into account the need (or lack thereof) of taking into account the optical adjustments to the perception of space. This requirement can be explained by the following considerations. For example, to create a single free space of space, designers prefer more neutral, unobtrusive forms, nuanced combinations of texture and texture of the front surfaces, their lighter, lighter, color tone when solving cabinet furniture. In another case, when it is necessary to allocate any furniture group in the interior or optically adjust unfavorable proportions of the room, it is advisable to use the expressive form of the furniture itself, for example, to plastics, upholstered furniture, or to actively develop the front surfaces (for example, more active texture, ornamental motifs, decorative elements, etc.),

One of the most powerful artistic means of solving the interior as a whole and the furniture itself is “color. Therefore, to the aesthetic requirements of the first level belongs to the creation of such expressive color-tonal ratio of furniture, which would allow to create a common harmonious color solution of the interior. It should be borne in mind that the product manufactured by industry can actually be designed for use in a typical subject environment, the individual features of which cannot be taken into account in advance. This makes the choice of color particularly important and makes it possible to recommend a preference for more neutral soothing combinations.

One of the serious aesthetic requirements for the choice of color is to match the color and finish of furniture products to the general nature of the interior for which they are intended. Specific to the aesthetic requirement for modern furniture and interior is the creation of equivalent color options for the diversity of the interior and at the same time its individualization.

The most important means of creating the artistic unity of the internal environment is the stylistic unity of all the objects forming it. Therefore, the basic aesthetic requirements of level I include the conformity of furniture to the style ensemble of the environment, including the conformity of the shape of the product to the stylistic unity of the interior. Creating the unity of the style of the designed product, the artist should take into account the stylistic features of the objective environment, in particular, take into account the national features of the style, as well as the features of the style of the era. Preference should be given to the best modern trends, most fully reflecting the progressive trends in the development of modern architecture and the furniture industry.

Special requirements that form the second level of aesthetic requirements for furniture regard it as an independent object of aesthetic perception, regardless of the composition and aesthetic qualities of the interior as a whole. First of all, the correct solution of the volume-spatial and tectonic structure of a furniture product refers to special aesthetic requirements. When creating the basic elements of a furniture product, it is most important to truthfully use the structural properties of materials. Thus, an excess of material in structural elements, exceeding its carrying capacity, creates an impression of gravity and massiveness of the object.

For the favorable visual perception of a furniture product, the plastic expressiveness of its shape is of great importance. This particularly applies to upholstered furniture, which in the modern interior plays a leading role in the organization of the interior space. However, working on the expressiveness of the form, it is necessary to take into account its acceptability for a particular furniture product. For example, numerous options for using the shape of the sinks made it possible to create comfortable and beautiful models of modern chairs.

The proportionality of the elements is also one of the important aesthetic requirements of level II. Here the essential point is the correspondence of the main divisions of the product to its constructive basis. A proven age-old practice method, allowing to achieve such a match, is an expressive proportional structure of the product. With the proportionality of the elements of furniture products is closely related to its large-scale compliance with the person. For the solution of each piece of furniture, an equal-scale structure of the entire product, its parts and elements is important.

For a full-fledged visual impression of a furniture product, its large-scale expressiveness is necessary. Plastic study of the form must be brought to the nuances of nuances, not to violate the contrast of the materials of the unity of the Whole. It is also important that the detailing of plastic or metal elements placed on a furniture product is not coarse.

To create a favorable aesthetic quality of a furniture product, an optical correction of its elements is necessary. For example, it is very important to decide whether to enhance the expressiveness of the form of surfaces, whether to emphasize the conjugation of curves and flat surfaces, whether to provide light reflections, etc. It is necessary to carefully select decorative elements depending on their influence on the overall shape of the product.

When aesthetically assessing the color of a furniture product, three main questions arise. Firstly, how harmonious is the overall color solution of the product, secondly, whether the color-tonal relationships of the elements of the object are sufficiently expressive with respect to the whole; thirdly, does the color-tonal and textural solution correspond to the overall compositional design of the form.

Special aesthetic requirements pose to designers the need to ensure the unity of the solution of each individual furniture item, which should be expressed in the coordinated functional, structural and decorative characteristics of all elements and parts. To achieve the stylistic unity of the product, a very significant moment is the true expression of the technological and structural properties of the material. It is also important that its stylistic characteristics do not have a fake character. For a high aesthetic level of the product, a smooth surface, high-quality paint and varnish coatings are necessary, and a guarantee of preservation of the presentation for a long time.

Knowledge of general and special aesthetic requirements can undoubtedly assist in the creation of full-fledged art furniture products, but the solution of aesthetic problems should be special in each particular case. You can not approach different things with one measure, you can not turn aesthetic principles into a kind of universal recipe, suitable for all occasions.

In addition to benefits, convenience, things should bring joy to people, deliver them aesthetic satisfaction due to the harmony and beauty of form, colors, lines. Aesthetic requirements determine the general direction of shaping furniture, approach to it as an element of the objective environment, as well as the decision of its appearance.

After considering the aesthetic requirements for modern furniture in general, it is necessary to dwell on its most important aesthetic features.

The first aesthetic feature of shaping modern furniture lies in the complexity of its solution, in its aesthetic, visual and utilitarian compatibility with other interior elements: lighting fixtures, coatings of enclosing surfaces, etc. Here, the difference in the way home and special furniture is manifested with particular force. In the home, the final decision of the interior is in the hands of the tenant, therefore the specialists (architect, artist) - the authors of one or another element of the interior (furniture, fabrics, lighting fixtures, etc.) can only recommend options for combinations of these elements. The authors of the interiors of public buildings have the opportunity to clearly define and implement the entire subject environment. From this it can be assumed that the aesthetic characteristics of household furniture should be more neutral, provide for the possibility of visual dominance in the interior of another element or elements unknown to the author of furniture, having various artistic and stylistic features.

With the complex solution of special furniture, it is necessary to find in advance a single artistic theme in the development of all the interior elements, built on the use of one form, common color range, single style direction or on their opposition and contrast.

The second aesthetic feature of modern furniture, its visual variation, is closely related to the requirement of visual compatibility, complexity. The variety of interiors, their transformability and mobility, visual diversity with the same utilitarian consumption leads to the need for not only utilitarian, but also artistic variation of furniture, which mainly affects the solution of its color, texture, details. Complexity and variation are characteristic of modern furniture, as it is designed and manufactured not only for the character, structure and style of the interior, but also for various options for the use of artistic expressiveness known to the furniture maker.

The third aesthetic feature of modern furniture is its spatial certainty, which means accurate consideration of its visual role in the structure of the interior. Here it is appropriate to quote Le Corbusier 1 on the mutual influence of the perception of space and the aesthetic function: “Architecture, sculpture, painting are directly dependent on space, being linked by the need to control it, each using appropriate means. It is essential to note that the key to aesthetic emotion is spatial function. ”

Below are some special aesthetic requirements for major furniture groups.

Modern aesthetic requirements for household furniture are based on further improving the comfort of apartments and increasing the aesthetic demands of the population. Apartments of residential buildings to be built in the present five-year period will be built on new standard projects, characterized by more rational than before interconnectedness of rooms, improved proportions of rooms, increased size of bedrooms, kitchens, hallways, and expansion of corridors. One of the most important features of apartments in prospective construction should be considered the mandatory inclusion in the space-planning structure of additional built-in wardrobes and stationary kitchen furniture, the installation site of which is determined by the decision of apartment interiors is provided for by the construction project.

The main aesthetic requirements for built-in furniture include the following: a variety of facial finishes due to the extensive use of special film materials, upholstery paper with different patterns and textures, as well as covering paints.

Harmony and unity can be achieved in various ways: the unity of proportions, the same finish of common parts, color combinations, as well as simplicity, conciseness, expediency of form. In this case, the built-in furniture may belong to an organizing and subordinate role. If the built-in furniture occupies a significant part of the wall, and in color and tone is decorated in the same way as the walls of the room, it affects mainly the location of the mobile furniture. If the built-in furniture occupies a significant part of the wall and has wood color and texture contrasting to the wall, it is an active element of the interior, therefore the rest of its elements cannot be formed without taking into account the features of the built-in furniture - its proportions, color, texture, finish (matte or glossy ).

Built-in and mobile furniture can unite the unity of the facing and finishing of the front surfaces, but for the overall harmony of the interior it is not necessary that the color and decoration details of the built-in and mobile furniture be the same. Unity can be achieved by total simplicity and brevity. So, the block of cabinets of built-in furniture, having smooth doors on the facade side with calm lines of horizontal and vertical divisions, can serve as an example of the harmonious unity of mobile and built-in furniture in a modern interior. Aesthetic requirements for mobile furniture (a group of soft products for rest with a predivided table, usually placed in a common room, dining and work tables, chairs and a number of other products) have a slightly different character as a result of its relatively autonomous placement in residential and utility rooms of apartments. Products of this type are obliged to take the main share of the artistic accent of the interior in a decorative aspect. This placement is supported by their placement in rooms, the ability to acquire decorative, sculptural forms in the widest range of architectural and artistic expressions at the will of an architect, artist while maintaining high functional merit. Bringing color to the interior, contrasting contrasting of finishing materials should be fully applied using the decorative possibilities of upholstery materials.

High functional expediency of furniture does not guarantee the automatic solution of the problem of proportions and scale in the interior. This is important because the work of art must first of all be the interior of the room, the apartment as a whole. Художественная целостность, выразительность замысла, включая варианты контрастных сочетаний, должны проявляться прежде всего в интерьере, как в функциональном относительно автономном организме, отражающем индивидуальные особенности каждой конкретной семьи, отдельных ее членов, и при этом на конкретном отрезке времени ее существования. Последнее обстоятельство очень важно, так как семья по своим требованиям во времени очень подвижна. В течение жизни человека необходима многократная своеобразная «переналадка» интерьера в жестком контуре строительных конструкций, что должно обеспечиваться прежде всего мебелью, ее комплектованием, заменой отдельных изделий, добавлением новых. И мебельные наборы должны предоставлять такую возможность. Новые требования к возможности корректировки интерьеров по частям должны обеспечиваться реально, в необходимое время, на хорошем функциональном и эстетическом уровне.

Одной из особых групп бытовой мебели является детская. Эстетические требования к этой мебели тесно связаны с ее функциональными особенностями [100]. Вопрос оборудования детского помещения интересует производственников, врачей, психологов, архитекторов. Конструирование мебели для детей стало насущной необходимостью. Оно бурно развивается, каждый месяц приносит новые идеи. Одни специалисты считают, что в детском помещении должна быть простая удобная обстановка, поощряющая увлечения ребенка, что он должен иметь достаточное пространство для игрушек, рисунков, книг, кукол игр и т. д. Другие считают, что ребенку нужно с самого раннего детства прививать восприимчивость к разнообразию форм цветов и материалов. Изучение потребностей детей показало, что они сами выбирают из окружающей среды то, что им по вкусу: ярко окрашенные, имеющие приветливый вид предме ты. Что взрослым кажется необычным и даже экстравагантным, детям представляется естественным. Поэтому необычные формы детской мебели в виде призм, кубов, цилиндров совершенно закономерны.

Основными архитектурно-художественными требованиями к детской мебели являются: соблюдение масштабности, т. е соответствия формы, основных пропорций изделия пропорциям тела ребенка, его росту; зрительное единство изделий, тесно связанное с легкостью передвижения и трансформации, взаимозаменяемостью; использование новых легких материалов; выбор цвета в соответствии с развитием ребенка и особенностями его восприятия.

Совершенно недопустимо проектировать изделия детской мебели такими же, как для взрослых, но только меньших размеров. Детская мебель по функционально-гигиеническим особенностям отличается от мебели для взрослых, ее формы должны отражать это отличие. Для детской мебели характерны более спокойные, близкие к квадрату пропорции основных элементов, лаконичность членения деталей.

Большое гигиеническое, функциональное и эстетическое значение приобретает отделка детской мебели. Очень важна тщательная отделка кромок щитов, которые должны быть за-овалены. Наиболее целесообразный способ отделки кромок — применение поливиниловых раскладок, устанавливаемых с небольшим натяжением по длине, без клея, хвостовой частью в шпунт, выбранный в кромке по периметру элемента. Наиболее ценное качество таких раскладок заключается в возможности обработки углов с малым радиусом закругления.

Наряду с сохранением естественной текстуры древесины (зачастую светлой) в отделке детской мебели целесообразно использовать такие покрытия наружных поверхностей, особенно крышек столов, дверок и т. д., которые позволяют их сделать влагостойкими, гигиеничными, а также жизнерадостными по цвету. Целесообразно также применять нитроэмалевые и масляные краски, облицовку слоистыми пластиками и т. д.

Для детской мебели должны применяться новые материалы, обладающие высокими гигиеническими, эксплуатационными и художественными качествами. Например, детская мебель может быть отделана укрывистой и прозрачной пленкой или эластичным пластиком, получаемым под низким давлением. Такой пластик влаго- и морозостоек, не горюч, не расслаивается. Детскую мебель отделывают также эмульсионными красками, дающими ровные матовые поверхности и обладающими большой механической прочностью и влагостойкостью.

Особое внимание при проектировании детской мебели должно быть обращено на художественное решение и качество выполнения лицевой фурнитуры, которую целесообразно выполнять из пластика.

Эстетические требования к кухонной мебели находятся в тесной связи с особенностями устройства современной кухни и зависят от тенденций ее архитектурно-художественного решения. Вместе с ростом жилищного строительства в нашей стране и непрерывным развитием науки и техники совершенствуется и техническое оснащение кухни. Широкое распространение в быту получают разнообразные приборы, облегчающие труд домашней хозяйки, улучшающие его гигиенические условия. Одновременно с этим изменяется и характер планировочных решений кухни как подсобного помещения.

Введение механизации и автоматизации в процессы домашнего приготовления пищи, применение новых типов кухонного оборудования не только значительно сокращают время, затрачиваемое на домашнюю работу, но и существенно влияют на архитектурно-планировочную структуру квартиры [101].

К основным эстетическим особенностям кухонной мебели можно отнести: зрительную размерность; совместимость различных по назначению элементов оборудования (столов, шка-сЬов, плит, холодильников и т. д.); благоприятные для восприятия пропорции; рациональное цветовое решение для создания не только оптимальных условий труда, но и для декоративно-художественного эффекта.

Эстетические требования к специальной мебели определяются зависимостью ее решения от назначения того или иного здания. Принимая во внимание функционально-технологическую обусловленность расстановки мебели в помещениях различного назначения любого вида общественного здания, необходимо помнить о роли мебели в объемно-пространственной структуре интерьера. Например, проектируя барную стойку, необходимо учитывать, что она является сильным средством зрительной организации интерьера ресторана или бара. Решая серию обеденных столов и стульев для оборудования обеденных залов большой вместимости, следует отдавать -предпочтение конструктивным приемам, в которых предусматривается меньшее число опор для создания более свободного зрительного пространства. Как известно, специфика назначения здания налагает отпечаток не только на утилитарное, эксплуатационное решение мебельных изделий, но и на их архитектурно-художе-ственное решение. Наиболее ярко это проявляется в мебели кафе, ресторанов, стилевые черты интерьеров которых создают атмосферу истории, культуры, этнографии того или иного города, района.

Рассматривая основные группы общественной мебели, можно отметить наиболее характерные эстетические требования к ее решению. Так, при решении мебели для детских учреждений необходимо учитывать особенности масштабного строя детской мебели, психологического воздействия цвета на детей раннего и дошкольного возраста. Эстетические требования к школьной мебели являются одной из основных составных частей комплекса педагогических, гигиенических и технико-экономических требований, определяющих ее проектирование. Школьная мебель должна, во-первых, соответствовать общему архитектурно-художественному решению интерьера современных школьных зданий. Вторым эстетическим требованием к этой мебели является единое решение всего набора, выполненного на одной конструктивной основе. Третьим эстетическим требованием к школьной мебели является применение цвета с учетом его воздействия на детей школьного возраста. Светлая спокойная цветовая гамма в окраске мебели и стен учебных помещений, яркие цветовые пятна и декоративные элементы в рекреациях и переходах создают радостную атмосферу, развивают у детей чувство красивого.

When creating administrative furniture, it is very important to create favorable psychological conditions for work. Therefore, great attention should be paid to the proportions of products and their elements, the choice of color, etc.

Functional and technological features largely determine the aesthetic requirements for furniture and commercial buildings. For example, in commercial furniture, all constructive and architectural means should be aimed at creating the most favorable conditions for the display of goods. Artistic tools chosen for the solution of furniture of catering enterprises should also be aimed at identifying the connection of furniture with the interior, at creating a certain predetermined atmosphere.

In modern practice, the creation of a single, integrated furniture series for public building equipment, the choice of rational types of furniture products and the unification of their sizes, ensuring common architectural and design solutions and a single artistic characteristics are particularly important.