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Barysheva V.E.
Zhelondievskaia L.V., Barysheva V.E. MANIFEST AS A TOOL OF STRATEGIC DESIGN IN ART AND DESIGN The article relevance is due to the acute need for new project thinking in design and architecture. For the purpose of search for future design technologies it is necessary to study and understand methods, used in the earlier project work, at the time of stylistic trends fracture. Declaration of an artist's position, expressed in the form of a manifesto, is one of the main instruments of strategic planning. The article analyzes the manifestos of the most problematic periods of cultural development as the key to the solution of contemporary issues. The article deals with artistic manifestos that have become iconic in terms of changes in design methods, that are turning to a different style formation and understanding of the art role and place in the historical process. One of such cruсial periods is the Avant-garde of 20-s of XX century. "Manifesto of Futurism" by F. T. Marinetti is one of the most iconic ones in terms of fundamental changes in the artistic paradigm. Its theses were stronger and more expressive than the creative works based on them. The manifestos of Futurism themselves became an avant-garde product that influenced the history of art movements. Since then the manifesto has become an indispensable instrument for the expression of new ideas. The Suprematism is one of the most important trends of the avant-garde, which has attracted the attention of artists, designers and researchers for about a century. In this article the Suprematismis being considered through declarations and manifestos, in terms of its contribution to the search for design technology of the twentieth century. The subject is analyzed on the example of the founder and ideologist of this art movement — Kazimir Malevich. Creative and research heritage of Malevich is studied from the perspective of a project concept. As for the modern examples, inter alia, the following works are reviewed: the manifestos of Ken Garland 1963, "Manifesto 2000", creative credo of American designer B. Papanek stated in his book "Design for the Real World" in 1971, philosophy and creative postulates of English designer Karim Rashid. Key words: the Manifest, project, technology, Marinetti, Malevich, Suprematism, concept.
Barysheva V.E. SPATIAL ILLUSION OF DESIGN OBJECTS The article is dedicated to the content of the illusion concept in design. Several types of illusions are described. The article is focused on the review and analysis of the use of different visual spatial illusions in the living environment on examples of the objects of design in interior. Key words: illusion, space, living environment, emotional response, visual language.
Zhelondievskaya L.V., Barysheva V.E. PRINCIPLES OF FORMING THE SUPREMATISM OF MALEVICH AS THE BASIS OF THE STYLE OF THE XX CENTURY The publication addresses Suprematism with the position of morphogenesis. The genesis of the form is presented in interaction styles of impressionism, cubism, futurism and cubofuturism. The authors analyze the contribution of Suprematism in modern shape, and the concept of Suprematism as the basis of the style of the 20th century. Key words: Malevich, suprematism, cubism, methodology of projecting, concept, style.
Zhelondievskaya L.V., Barysheva V.E. SYMBOLIC FORMS OF VISUAL IDENTITY OF THE CITY The article deals with symbolic forms of territorial identity. The authors analyze the semantic and cultural basis of the territory identification from heraldry up to the modern symbols of cities. Key words: Regional branding, heraldry, identification of the city, development strategy for the city;
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Editor-in-chief |
Sergey Aleksandrovich MIROSHNIKOV |
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