Annotation

The aesthetic perception of architectural forms of interiors of prominent buildings of the world and Ukraine is considered. One of the main problems of aesthetic perception of architectural forms of interior is the nature of the formation of the emotional influence of the projected locked space on a person, on its aesthetic perception, and its relationship with the environment. The problems of aesthetic perception of architectural forms were studied by a number of scientists, in particular: Yu. G. Bozhko, V. L. Glazychev, V. Ya. Danilenko, M. I. Yakovlev Conclusions and recommendations of most studies require a fundamental revision, since they were conducted in the conditions of state-administrative regulation of economic relations. Designing the interior of the buildings was carried out without improving the comfort of their perception. The conduct of this study is due to the need to highlight the current state of the problem and the priority composite moments in the history of interior design. The task of our study is to draw attention to the importance of highlighting the modern stage of aesthetic perception of architectural forms of interior design of buildings, to identify the priority composite moments in the history of interior design. In the literature on the history of the construction of the ancient world, the forms of interiors of buildings are elucidated in detail. Such forms were in their own logical and justified functional, constructive and aesthetic, consistent with the conditions of their time. As you know, the main historical experience of assimilating geometric ideas in art is connected with the theory of proportions. Based on the analysis, we can conclude that the architectural forms of the interiors of buildings and their aesthetic, emotional perception were of interest to our predecessors, but they paid insufficient attention to the comfort of staying in them. They skillfully chose the forms of interiors of buildings, their proportions and finishes, successfully used arch dome constructions of the ceiling, but did not always combine compositional-geometric architectonic patterns of shape, scale and content in the interior of public buildings.