Chepurova O.B.
TRANSBOUNDARY NATURE OF ADAPTIVE DESIGN IN THE DESIGNERS TRAINING PROCESS ^{[№ 4 ' 2023]}
In technical aesthetics, cross-border characterizes the versatility of design, the ability to connect to the development of various products in printing, heavy and light industry, etc., combining aesthetic, technological and design solutions in a single project. In the same vein, adaptive design can be considered as a form of one of the approaches to finding optimal solutions in the context of rapidly developing technologies and global changes on the planet. The synthesis of cross-border and adaptability in the design culture of designers is manifested at all stages of the implementation of their products. The use of adaptive design methods in the process of training designers strengthens the socialization of the learning process, since adaptability as a technique primarily helps students correlate the search for a creative idea and the effectiveness of its implementation with the human factor.
The pace of rapid penetration into the life of modern technologies creates situations in which the requirements for design methods change dramatically, force designers to focus on the conditions created by the need to constantly learn new skills in order to obtain results of maintaining a harmonious balance between the technogenic environment and society. The ability to organize such conditions that allow you to achieve a high level of comfort in a person’s stay in a modern, constantly changing world, and become one of the tasks of adaptive design.
One of the areas of adaptive design, in which the Department of Design conducts scientific and design activities, is the research and design of rehabilitation and development game kits intended for people with disabilities. The growth among the world population of various forms of diseases and injuries that cause complex disorders of musculoskeletal and cognitive functions confirms the importance of developing adaptive design and the need to train designers in the features of this type of design.

Chepurova O.B., Smekalov I.V.
FROM MODERN TO AVANT-GARDE. EXAMPLES OF DESIGN AND ARTISTIC THINKING IN ARCHITECTURE AND ART OF THE PROVINCE (BUZULUK, THE END OF THE NINETEENTH — EARLY TWENTIETH CENTURY) ^{[№ 13 ' 2015]}
The article analyzes the significant, but little-known historical facts of the creative life of the city of Buzuluk of the Orenburg region. We Offers a comprehensive research of features of urban architecture in the art Nouveau style and activity of the workshop of collective creativity of avant-garde orientation of Buzuluk. During the scientific expeditions in Buzuluk we found a wonderful complex of Mass Townhouse development, representing a compound of the techniques of handicraft wooden items made using the penetrating carving and refined professional principles of architectural form generation  — the so-called "wooden" art Nouveau. European art Nouveau, represented in Buzuluk names of architects Jan Adamason and Chadri, was the starting point for the development of design thinking of local artists. The method of virtual reconstruction allowed us to develop an electronic version of this valuable art monuments. Not less revealing the facts of the post-revolutionary surge of the artistic life of Buzuluk related work in city of representatives of the avant-garde. Research in the archives of the Orenburg, Samara and Moscow has allowed to characterize the period of activity of artist S. Y. Adlivankin in Buzuluk and to trace the history of the creation of his early works (cubism, constructivism). In the article we analyzes the documents of collective creativity workshop of Buzuluk led by Adlivankin, his theoretical and pedagogical views, communications of artists of Buzuluk with like-minded people in Samara and Moscow.

Chepurov I.V.
REFLECTION OF MENTALITY OF THE RUSSIAN PEOPLE IN GRAPHIC FORMS OF EXPRESSION COMIC IN THE PERIOD OF XVII — THE BEGINNINGS OF THE XX CENTURY ^{[№ 5 ' 2015]}
In article process formation of the Russian mentality and reflection of its specifics in graphic forms of expression comic is considered. The author carries out the analysis of graphic forms of expression of individual and public reactions to internal external changes — crises in policy and economy, church reforms, wars, etc., detection of the features of the Russian mentality reflected in national and professional creativity: caricatures, book and journal illustrations, social advertizing. First of all, in article models of national creativity as one of the first, most striking examples of visualization by the Russian person of the reactions to social and economic factors are considered. In a certain degree comically they represented rituals of a family cycle, scenarios of festivities, elements of life and an occupation of peasants and handicraftsmen. Also, also the policy of the Russian state didn't remain unaddressed. The basten pictures which were actively printed by the Russian masters in the XVII-XIX centuries were the main form of a graphic representation of "sore subjects". At the beginning of the XX century household plots found a wide circulation in works of Bilibin, Benois, Dobuzhensky, Bakst and other famous artists of the Russian modernist style. They also skillfully continued in the comical narration form of life of the Russian people in the works. At the same time, in connection with forcing of national disorders, appeared more and more illustrations of the satirical contents in which rebelliousness of the oppressed Russian peasantry is shown. Since the beginning of the XX century of a form comic gradually gain accusatory character. Having in many respects adopted stylistics of the basten picture "new national handymen" visualize actual social problems of that time. Thus, visualization of characteristic features of the Russian mentality, the image by artists of internal processes, both personal, and public character, it was very often shown through forms of the comic.

Chepurova O.B.
"WOODEN" MODERNIST STYLE OF THE PROVINCE AS PHENOMENONIN DOMESTIC ARCHITECTURE OF THE TURN OF CENTURIES ^{[№ 5 ' 2015]}
The result of researches of the architectural structures executed in style of a "wooden" modernist style widespread in country towns of our country is presented in article. Relevance of this research is that still there are many questions in the field of formation in domestic architecture of the certain direction in modernist style — a "wooden" modernist style. Distinctive features of composite decisions in decorative finishing of the structures which are in various regions including, in Orenburgskoi areas aren't revealed. There is a lot of a scientific and publicistic literature acquainting us with features of a foreign and domestic modernist style, however, the researches systematizing all information on a provincial modernist style and in detail the architectural works considering layer, receptions of a wooden pro-saw carving, representing connection traditional for Russia, and the principles of a shaping, nonconventional for wooden housing construction, in modernist style, still wasn't carried out. The result of an organized series of expeditions for search and research of architectural monuments of a wooden modernist style in suburbs of Moscow and St. Petersburg and in the cities of Yekaterinburg, Irkutsk, Samara, Orenburg, Buzuluk, Bugruslan, Kuvandyk, Orsk and so forth is presented. The disappearing "wooden" modernist style of suburbs of Moscow and St. Petersburg, how many feature of the remained numerous wooden architectural constructions in the cities of Russia and, in particular, in the city of Buzuluk of the Orenburg region became the key moment in an object of research not so much. The attention on architectural heritage of the city of Buzuluk which striking trait is rare (it is possible to declare safely — unique) the phenomenon of mass ordinary building is focused by the wooden structures (more than 80) representing a peculiar interpretation of modernist style. In article the method of virtual reconstruction at this stage allowing to create the electronic version valuable from the historical and art criticism points of view, a complex of architectural objects is described.

Chepurova O.B., Smekalov I.V.
SOCIOCULTURAL ASPECTS OF DESIGN EDUCATION IN SOUTH URAL. HISTORY AND PRESENT ^{[№ 5 ' 2015]}
In article design education development stages, as socially significant factor in formation of quality indicators of the modern environment are defined. The importance of system of design education, in implementation of activities for formation of professional design and creative community is caused. The little-known facts about activity in the province of the state free art workshops (SFAW) of an avant-garde orientation (1919-1920) and art and industrial schools of various specialization in capital Vkhutemas's sample are given as an example of distribution of revolutionary design ideas in regions of Russia (1920-1922). The sociocultural ideology of avant-gardists directed on formation of an occupation layer of a new formation, which is a basis of all methodological practice of modern design is considered. It is analyzed possibilities of development of traditions of schools of avant-gardists in the conditions of modern design education in regions. Various social aspects of design activity of designers and architects in regions reveal. The most demanded scopes of the creative ideas directed on modernization and improvement of sociocultural life support of the person in society are considered. Current trends of socialization of design activity of architects and designers are revealed. Qualitative productivity of design design activity is defined by its role in ensuring process of sociocultural integration of design ideas into system the individual — the sociocultural environment society and promotes interaction of design as design culture with social institutes. The received results allowed to specify activities of designers within their interaction with social institutes and to define the status of design activity of designers in Russia.

Chepurov I.V.
GRAPHIC ARTS DOMESTIC CARTOONS OF THE XVII-XX CENTURIES ^{[№ 5 ' 2014]}
The article considers the process of development of domestic cartoons. The author explores the origins of the origin of the satirical genre in society and the appearance of the first cartoon illustrations. Explore functionality, social relevance, masloobrazovateli satirical images of domestic cartoons.

Chepurova O.B.
THE SOCIAL CONTEXT OF DESIGN (ON THE EXAMPLE OF THE SOUTH URAL REGION) ^{[№ 5 ' 2014]}
The article highlights the current trends of interaction design as a design culture with social institutions. Analyzes the activities of designers in terms of relations with the contemporary design culture and social infrastructure of a cultural and traditional life of ethnic groups in the South Urals. We consider the social status of the project activity designers Orenburg State University.

Kalinicheva M.M., Solodovichenko L.N., Chepurova O.B.
CREATIVITY AND SUCCESSION IN THE DOMESTIC DESIGN ^{[№ 9 ' 2011]}
The article examines the relationship of creativity and succession in terms of understanding complex philosophical things, methods of analysis and evaluation of creative relationships and succession in national design as well as the limitations of their use, necessary for the designer in the field of material culture.

Chepurov I.V.
THE GENESIS OF COMIC FORM EXPRESSIONS IN THE RUSSIAN CHEAP POPULAR PRINT AND EXTRAPOLATION OF ITS STYLISTIC PECULIARITIES ON ELEMENTS OF THE GRAPHIC DESIGN IN THE 20–21ST CENTURIES ^{[№ 9 ' 2011]}
The article tells about how one of the first styles in the national visual culture — the Russian popular print — was conceived and developed. Particular emphasis is placed on the application forms of the comic in the popular prints as a major stylistic reception. It also traces the formation and extrapolation of its stylistic features into the elements of graphic design in the 20–21st centuries.

Chepurova O.B.
CROSS BORDER EFFECT IN DESIGN ^{[№ 9 ' 2011]}
The article analyzes the phenomenon of cross-border effect in design. A brief overview was made for the scientific disciplines that study the processes taking place in modern society in conditions of cross-border effect. It considers the certain terminological apparatus that accompanies the ongoing research in this area. The greatest attention is paid to cross-border cooperation of various forms of folk culture (cultural dialogue) and the actual direction in the research of project culture in modern times — cross-border design in culture.

^{[№ 9 (app.1) ' 2005]}

^{[№ 9 (app.1) ' 2005]}

^{[№ 9 (app.1) ' 2005]}