Abstract: emotional design has become an important aspect of the current design research. From the physiological characteristics of SOHO groups, psychological characteristic and the social culture acquisition of discussion on the related principles of emotional design furniture, and then systematically put forward from the visceral level, behavioral level, the level of reflection and symbol level Four level building emotional furniture emotion rousing structure, to design in accordance with the emotional needs of SOHO Furniture products.
Key words: SOHO furniture; emotional design; symbol
No. in Figure classification: C931 document code: A article number: 1002 - 2589 (2010) 29 - 0127 - 02
　　
The surplus of material production makes the material function of the product become the premise, the emotional experience and other non-material functions provide an important aspect of the product, and the emotional design is a core problem of the current design. This paper tries to explain the emotional design of SOHO office furniture from the physiological characteristics, emotional generation and social culture.
One, to meet the physiological characteristics of the principle of
Office furniture to achieve emotional, first of all need to meet the physiological needs of the SOHO group, as far as possible to avoid the frustration of SOHO use, as much as possible to help the SOHO group to reduce the use of pressure. Therefore, it is the basic principle of emotional design to meet the physiological characteristics of SOHO group.
In order to meet the physiological characteristics of human, we need to consider the physiological characteristics of SOHO group in the design of office furniture products. This is mainly reflected in the appropriate scale, comfort, aesthetics, etc.. Reasonable scale is important aspect of achieving the goal of design, office furniture from Europe and the United States was introduced into China, in our usual office furniture design is to reflect office that focused sense, sense of discipline, therefore resulting in the scale of office furniture are larger problems (such as office table 75 cm high). In Japan, the office table is divided into two types of male and female scales (such as 71 cm and 67 cm) of the desk, to ease the long office caused by muscle fatigue.
As SOHO's home office furniture, not just office needs, but also the need for learning and entertainment. Almost half of the time people have been around the office furniture, and thus the scale of the furniture of the main impact. In the design process of furniture, generally follow the design of some scale in Figure 1, of course, need to consider the distribution of the body size of young people in China, but also need to take into account some regional differences. In our country, the majority of SOHO groups are young, the design needs to be appropriate to increase the size of the appropriate size.
In order to make office furniture to meet more people, we need to consider furniture adjustment here, including the height and the position of the desk can be adjusted, and office chair height and angle adjustment, to conform to the physiological characteristics of human beings, thus ensuring the users comfort.
In alleviating the use of fatigue, but also need to consider the aesthetic experience of furniture. Generally speaking, the aesthetic is understood as a kind of intuition, which is a kind of physiological impulse. When the aesthetic impulse induces the physiological reaction, the emotion becomes the main force of the decision. Therefore, the aesthetic experience of the product should be considered in the design. In the sense of aesthetic experience, we can consider from the visual experience, tactile experience, auditory experience and other aspects to consider.
Two, from the emotional realization of the principle of starting
Emotional furniture design, the ultimate goal is to achieve the emotional experience of people. This requires us in the process of design, fully consider how the emotional symbol of the product affect people's emotional cognition.
In accordance with earlier we mentioned the symbolic interactionism to view the emotional arousal and to maintain, emotional furniture is plays the role of the subject of symbols become that interacts with the subject and other symbols, as a means of self in the subject. The realization of this kind of emotion, on the one hand, is the main body and office furniture for the exchange, as the main body to achieve a certain function, evoke a mood, so as to produce a sense of dependence. On the other hand, it is recognized that the subject uses the office furniture to be recognized by the other, so that the subject can obtain a sense of identity. This kind of emotional arousal needs a common cultural identity.
If in accordance with the statement of the interactive ceremony, the mood is sustained because of the same rhythm, the formation of a specific cultural structure. As a result, we can say that the realization of emotion is not only related to the physiological reaction, but also to the cultural structure. From the emotional point of view, we need to study not only the physiological characteristics of human, but also need to study the cultural circle of SOHO groups, understanding their cultural identity.
Furniture as the bearer of affective properties of bearing its most basic properties of matter, as with the focus on SOHO user action process and the scope of, and as the event trigger is as an important medium of communication in the use of physical environment and social culture environment and background. Different consumers have different requirements for the product's emotional arousal structure, some users pay attention to the product's property demand.
Three, the principle of subordinate social culture
People are social, the product is only to enter the field of social circulation will produce vitality, will be full of emotional strength. Office furniture design should adapt to the social and cultural products, in the history of the development of furniture design, the different stages of social and cultural needs will produce a new form of furniture. Economic recovery in the sixties of the 20th century brought "the scenery of the office furniture; the energy crisis of the 1970s contributed to the extensive use of" unit of the office furniture, in the eighties of the 20th century, with the development of electronic technology, electronic office furniture development, and, later, the office furniture, and so on. These are examples of the office furniture shape and overall social development bound together in a common cause.
From a microscopic point of view, different social and cultural groups use different forms of office supplies, but also the use of different office furniture. According to the income level, can be divided into high income, middle income, low income groups, different groups have obvious differences in the use of furniture. In general, higher income groups will more fashionable styles, richer symbol significance of products to reflect their own superiority, show their own economic strength, own a positive image expression, so as to realize the low-income groups and the distinction; moderate income group is with with the style of the higher income, the formation of popular styles, on the one hand, interpretation of the popular style, on the other hand that he does not fall behind; low income groups, in order to achieve the most basic needs as the goal is often used cheap by inferior material made of products, in order to cover material, are usually filled with pretense of pattern or color. Between different furniture, in fact, has formed a kind of segmentation, this area has been strengthened by users, furniture also has a certain cultural significance.
What needs to be pointed out is that the acquisition of social culture is a process of learning for consumers and a process of following the mainstream culture.
Four, SOHO office furniture for the construction of the call
SOHO office furniture is a system, as for the SOHO, office furniture and furniture: a SOHO office furniture for office is the spatial arrangement of the communication with the outside world, is a kind of office space, need has the common characters of general office furniture, such as efficiency, image and so on. On the other hand, SOHO Furniture is a household furniture, or said is a small furniture, with some of the characteristics of family life activities, such as providing some recreational activities, with a convenient, flexible and entertainment features. It's own and external information exchange factors and internal operation, leisure factors for furniture to produce different effects, so that SOHO office furniture in the form and function of different characteristics.
In psychology, people's behavior is divided into visceral level, behavioral level and reflective level; considered in materialist dialectics, the role and influence of the object on the subject of is caused by thinking of the main organization of perceptual organization of knowledge processing and analysis, resulting in the direct cause of the awareness. Cognition is the result of the interaction between subject and object, the occurrence, development and end of cognition. In the SOHO family of furniture on the cognitive, still follow the emotional model, which is described by Destmet as the following model [2].
From Figure 2, we can macro see SOHO gens emotions generated in products affected by the stimulus for the foundation, produced by the evaluation, control our product emotion generation process, by the cognitive physiological arousal response, culture and social structure guide emotional expression. Thus the emotional process of office furniture is a process of SOHO and its interaction. In this interaction, the external perception of the furniture and the use of the process of perception, which causes the corresponding psychological changes, namely the emotional change or emotional experience. So the SOHO office furniture of emotion rousing structure setting, need to consider to its environment, using a population of cognitive level, own attribute and function realization form composed of various internal and external factors, these different factors constitute the office furniture of the emotional attributes and their group is perceived by the people out of the whole structure is the office furniture called structure.
SOHO office furniture as people living props directly to the occurrence of intimate contact, direct service to people. It interacts with the human interface is the source of human emotions, but also the focus of emotional design. According to the theory of emotional design of Don Norman, the emotional furniture from instinct, behavior, reflect on three levels (3), the three levels is to stimulate people's emotional office furniture three emotional attributes: instinctive level emotional attributes, behavior level of feeling sense properties and reflect the level of emotional attributes. They are experienced, and they can be perceived by others as their external, interactive, and inner three different emotions.
Five, summary
In the process of emotional design of SOHO office furniture, the designer needs to consider the possibility of the realization of emotion in many aspects, such as personal physiology, psychology, social culture and so on. SOHO office furniture called structure requires the following four emotional attribute composition: instinctive level emotional attributes, behavior level of emotional attributes, the reflection of level of emotional attributes and symbolic emotional attributes and their corresponding estate gave birth to four kinds of emotion that can be experienced by people: intuitive feelings, interaction of emotion and inner emotion, identity of emotion.
　　
reference:
[1] Ding Yulan. Ergonomics [M]. Beijing: Beijing Institute of Technology press, 2005:141.
[2] Dai Jia. Study on the personalized product design based on the emotional needs of consumers [D]. Shanghai: Shanghai Jiao Tong University, 2007:24.
[3] Donald A. Norman. Emotional design [M]. Fu Qiufang, translation. Beijing: Publishing House of electronics industry, 2005:5. (responsible editor \/ Wei Jie)