Психо-социальные аспекты в формировании дизайна интерьера магазина. Концепция "Статус"

Abstract

В статье рассмотрено интерьер магазина как архитектурное пространство со сложившимися визуальными статусными стереотипами, обусловленными общекультурной, социальной и экономической жизнью общества. Описано влияние на формирование среды социально-психологических регуляторов потребительского поведения – ценностей, символов, особенностей восприятия. Выявлено особенности художественного оформления интерьера “статусного” магазина.

У статті розглянуто інтер’єр магазину як архітектурний простір з візуальними статусними стереотипами, що обумовлені культурним, соціальним та економічним життям суспільства. Описано вплив на формування середовища соціально-психологічних регуляторів споживчої поведінки – цінностей, символів, особливостей сприйняття. Виявлено особливості художнього оздоблення інтер’єру “статусного” магазину.

This article considers interior of a store as architecture space with existing visual status stereotypes driven by common cultural, social and economic life of a society. Besides, this article describes the impact on forming an environment of existing psychosocial regulators of consumer behavior – values, symbols and features of perception. Status is a place, a position of a person in the system of relationships in a society and in a particular group. Status is shown in various external features: symbols that differentiate its holder from others. Most status symbols are an incentive of consumer behavior. In business activity such status symbols are held by a product, and the main factor defining that is the demonstration factor. There are a big number of products consumption of which is hard to hide and deny, those are clothes, smoking requisites and accessories, cars, telephones, jewelry and many others. All possession items consumption of which is hard to hide are identifying symbols which are handled by people who refer their holder to a particular level of imaginary social hierarchy. People need these symbols of demonstration and an objective of design is to provide and to get across them to all. Status symbols in interior serve as a way of communication, and this fact makes their use just necessary. Visualization of these symbols in design has got wide spread occurrence and features of particular unification. We can state that some particular visual stereotypes have been formed and caught on. Each stereotype has its own target audience with their tastes, reactions, consumption range, firmly oriented by social groups. In each groups of consumers there are particular status symbols thanks to which they can differentiate a suitable product or a store. The use of these symbols in interior forms a chain of associations: it increases emotional background of an environment, enhances meaningful perception of trade space, forms proper customer’s impression about place and as a result about a product. Status symbols in interior serve as means of communication, and this fact makes their use simply necessary. Visual reflection of these symbols in design has got wide spreading and features of particular unification. The author highlights the main visual stereotypes and their interrelation with particular target audience. Lean minimalism is the most popular stereotype of a modern store. The main reason is that it is neutral and it enables to focus attention to a product not to interior details. Whereas for median age group it is important to be “recognized” by society, young people, conversely, prefer rebelliousness and contradistinction. It is widely showed in design of youthful clothes stores. It is inherent to such stores to have some barbarity, “brutalism”, use of natural, raw and aged materials. In such a way we can highlight product positioning as young-adult, affordable, wear proof, natural. Stereotype “Pageantry”, “Glamour”. In such a manner we can describe magnificent and rich interiors. In interior design there are two the most distinctive trends: minimalist, ascetical interiors and, vice versa, sophisticated filled with a big number of details where interior serves as a background for elegant clothes or, conversely, it can fill up the image with wealth of details. Interiors can differ by artistic approach, but only emotionally – associative message is the same – status suitability. Apparently, consumer behavior is identified not only by functional abilities of a product but also by the symbolism which gives a product affectedly formed image (status value). Owing a product-symbol a person refers themselves to a particular consumer group. And in-store design is reflectively referred to the quality of the product. In such a way design serves as a fine tool of suitability.