Репозитарій Національної академії керівних кадрів культури і мистецтв України

Дизайн України у світовому контексті художньо-проектної культури ХХ століття (національний та глобалізаційний аспекти)

Дизайн України у світовому контексті художньо-проектної культури ХХ століття (національний та глобалізаційний аспекти)

Даниленко, Віктор Якович
URI: http://elib.nakkkim.edu.ua/handle/123456789/2439
Дата: 2006

Короткий опис(реферат):

У дисертації розв’язано наукову проблему, що стосується розвитку дизайну України протягом ХХ ст. у синхронному співставленні основних його складників з відповідниками в розвинених країнах світу. Розглянуто термінологію та основні параметри, що становлять понятійний підмурівок даної праці. Висвітлено двоїсту сутність дизайну з огляду на глобалізаційну та національну його складові й окреслено основні особливості дизайну в різних регіонах світу. За цими матеріалами здійснено дослідницьку проекцію дизайну України на загальносвітове тло художньо-проектної культури. На підставі отриманого знання запропоновано підходи до творення національно орієнтованого українського дизайну.

Суть розробки, основні результати:

Extensive material which concerns the explanation of main processes that took place in the world design during the XX century has been analyzed in the dissertation. It has been shown in this material that the design adapting to the realities of globalization on the one hand and national differentiation on the other hand acquired properties of duality that appear in its global and national parts. This dual property of design appeared in the fact that in some developed counties such as Scandinavia, Italy, Japan, South Korea and some others it tends to nationally recognized features. But there are some countries like USA, Great Britain, Germany that tend more to the creation of average world design leveled by globalization. It is determined in the dissertation that due to the fact of existence of these two dialectical contradictions in the world design there also coexist such categories as design traditions and innovations. In their general manifestation the main tradition that has been deeply rooted in modern design is the former innovation, namely: industrially saturated art design activity of modern pattern. At the same time the main modern innovation in design of the end of the second and the beginning of the third millennium is now such design projecting that is oriented on ecological priorities, less unification and standartization of researches, nonlinearity of general design movement, emphasis on post-modern conscience. This new phenomenon is inspired by the energy of old traditions - by the natural essence of formation of material objects in preceeding historical epochs. The latter fact makes possible the penetration of deep essence of mentality of ethnoses and nations into design sphere that is to be realized in material forms of the beginning of the third millennium. The establishment and development of XXth century design was growing all around the world in big cities but not in rural areas. Corresponding at that time, Ukrainian towns didn’t have beneficial conditions for the formation of new national-oriented design, because of the low percentage of ethic Ukrainians in cities and even less so in city elites. But, even within this low percentage, ethnic Ukrainians connected with art made some attempts to embody Ukrainian society in their works. The most successful experiments of those times have now passed into art history, where formed the image of Kharkіv, but couldn’t change the situation in general. The pressure of the Soviet regime, with the ideal of a nationless society reflected in a negative way on the culture development and design. And as a result during the XX century designers looked superficially upon national tradition, if at all. The main artistic principle of the time was that borrowing form rural craft designs. Today, as Ukrainian society is living through the initial post-colonial stage of development, the orientation of the Ukrainian version of design information onto the immediate borrowing of outward features of country side folk crafts seems unproductive. More urgent steps ought to be taken towards the making of new forms to mirror the urban culture of the nation, which may pave the way to the national identity in the object-and-spatial environment of Ukraine. The work examines the terminology and the basic parameters of design, the basic design peculiarities in different parts of the world concerning global and national parts in it. This material was used for fulfillment of the research projection of design in Ukraine on the world background of art design culture. On the basis of received knowledge the model of national Ukrainian design was proposed. The permanent crossing of the “vertical" part (deep values of national culture of Ukraine) with the horizontal part (the values got from other cultures) is recognized as its main mechanism. Such crossing will give the peculiar cultural quality in design which can’t appear anywhere else, as the combinations of the same ingredients will not exist anywhere. Three equal complications of national design creation of the product are singled out: the surface superposition of visual national stereotypes on the design forms - this level is the first and the most primitive; the highly qualified design creation on the world level as for the repetition of modern forms, invented by the designers of foreign countries - this level is more complex than the first one; the heigh level design creation with the use of deep values of Ukrainian national culture in their synthesis with the newest achievements of world design thought - this level is the most complicated. Materials of the present study, as they reveal a new outlook on the national design build-up, will encourage practising designers as well as visual art academia to perceive and persevere in the quest for national identity as applied to object and visual arts. The materials presented in this work seem conducive to further research in following design transformations in the XXI century and the modern history and theory of Ukrainian visual art. The theoretical positions of the work can be used in the investigations of the specialists in Ukraine and other countries concerning macroshowings of the world design transformings and local design showing of a single country when examining its design activity in the world context of art design culture.

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