Introduction
Design is a form of universal communication. Like art, it can serve to convey various ideas and values. Thus, disparate cultures and individuals can interpret design differently. This paper will focus on the analysis of Oxoye chair designed by Dzmitry Samal. This unique piece of furniture is developed in line with retro-futurism aesthetics. People interested in this cultural/artistic trend may be more capable of reading a complex of meanings implied in the chair’s design. However, it still can be appealing to a wider population. To show this, the analysis of distinct design elements and meanings will be provided. As a result, it will be possible to see why Oxoye design transcends cultural boundaries.
Design Analysis
The design of Oxoye chair is well-balanced in terms of aesthetics and functionality. It is constructed of wood, metallic, and foam parts, which together create an elegant silhouette. It is produced in three different color combinations: black and white, black, and yellow. Thus, one may purchase a chair that they find most visually appealing and suitable for their interior. Although Oxoye is original and unusual, there are no perceived barriers to interaction with it.
It means that, by applying their sensory apparatus, a person can easily understand what the object affords (Norman, 2013). At first glance, Oxoye suggests that it can be utilized for sitting and other purposes associated with any standard chair. Along with this, it affords meeting owners’ psycho-emotional and aesthetic needs.
UX Analysis
The interaction with Oxoye is non-complicated and pleasant. Aesthetics play the main role in the quality of user experience in the case of this chair. Its design was intended to provide strong emotional ties between a user and the object. The emotional connection is developed through the combination of such aspects as sentimental significance, reliability, usability, and timelessness (Ivanović et al., 2017).
Therefore, Oxoye’s functional and aesthetic properties aim to maximize enjoyment. According to Norman (2013), such an outcome is a primary goal of high-quality experience design. Overall, it is difficult to find any aspect of Oxoye that can lead to frustration. Everything starting from the material selection and ending with the chair ergonomics indicates that designers were thinking about users when developing the product.
Design and Meaning Analysis
Any object can be designed following certain cultural values and ideas. For example, Nyström and Lundström (1978) describe how urban areas in Stockholm were arranged to meet the “needs of retail:” ensure easy access for delivery of goods and constant inflow of consumers to shops (p. 36). Similarly, Oxoye is created to meet the particular interests of certain cultural groups. The retro-futuristic aesthetics may convey the values of prestige and uniqueness that are significant for higher-income individuals (upper-class culture). It is also interesting for a limited group of people in the artistic/intellectual sphere.
Nevertheless, various design attributes of the chair can be appealing to many people even if they are unable to see the object as retro-futuristic due to the lack of information background or interest in design trends. All people, without exception, understand the language of form and color that allows transcending cultural boundaries. Notably, while the latter is prone to interpretation in distinct cultures, the multiple colors of Oxoye chair will mainly be perceived positively/neutrally in most of them.
Conclusion
The main objective of design is the creation of objects that afford functionality and aesthetic appeal. Additionally, items can be designed to serve certain ideological purposes and meet the interests of particular individuals/groups. It means that cultural contexts play a significant role in the interpretation of design. In distinct cultures, each design piece can be perceived differently. Still, some objects can transcend these boundaries with the help of essential design attributes.
It is true that color and form may have dissimilar symbolic meanings in various cultures. However, they also often become the major elements of a universal language. The conducted analysis of Oxoye verifies this assumption by showing that the object can meet the emotional needs of a limited group of individuals with specific needs while also being understandable and likable in a broader context.
References
Ivanović, L., Marković, B., Arsovski, S., Rackov, M., & Kuzmanović, S. (2017). Emotional design and quality of life. Web.
Norman, D. (2013). The design of everyday things. New York, NY: Basic Books.
Nyström, L., & Lundström, M. (1978). Sweden: The life and death and life of great neighbourhood. Built Environment, 32(1), 32-52.