Abstract: Even in the 1980s, both Western and domestic design theorists noted a "semantic shift" in design, that is, a transition from issues of form-making to issues of meaning-making. Simultaneously, interest in the phenomenological understanding of things at the level of the senses began to grow. However, in domestic design literature, for various reasons, the theme of "meanings-sensations" has largely remained unexplored. Today, East Asian design theorists consider embodied sense-making as inherently aligned with their regional aesthetic tradition, linking it to the identity of East Asian design, whereas in domestic project science there is not even a terminological framework for discussing this topic. Therefore, the aim of this research is to problematize embodied sense-making in design. Relying on the semantic structure of the thing proposed by the director of the Japan Industrial Designers Association (JIDA) Murata Chiaki in 2017, the authors of the article reveal the Japanese understanding of embodied sense-making in design. The methodological basis of the research consists of methods for problem setting, cultural interpretation, commentary, and a comparative method with elements of comparison studies. In the course of the research, the authors reveal the cultural subtext contained in the semantic levels of the thing identified by Murata Chiaki. Thus, according to the authors, the "corporeality" of the thing suggests its perception not just through the five senses but through the entire body of a person. At the same time, the thing is perceived by a person as "void", as an "energetic concentration", and, therefore, as open to merging with the person's "self". In turn, the "sociality" of the thing suggests not only that the thing serves as an indicator of the social status of its owner but also that it connects all who have touched it: in the context of Japanese tradition, this refers to "energetic connection". Essentially, Murata Chiaki develops a "new phenomenology" in the spirit of the 20th-century Japanese philosopher Yuasa Yasuo, who sees the main difference between Western and Eastern perceptions of the world in that in the East, people turn to the "unconscious quasi-body" formed by the meridians of acupuncture medicine, while in the West, they turn to the unconscious located solely in the human brain.

Abstract: The relevance of the research is determined by the role that design has to play in the modern world, being a tool for alienating a person from his own body. According to the authors of the article, only thinking that inherits a different civilizational and cultural code from the Western one can resist the process of dehumanization of design, conditioned by the very logic of the development of Western civilization. Following the American design philosopher T. Fry, the authors consider the type of thinking rooted in the Eastern tradition to be promising today, since it is based on the idea of the world as a "single body". According to the philosopher, being, in essence, relational-correlative, this thinking can allow a Westerner to "stand" in an ever-changing world.
In order for a Western person to start thinking truly "sustainably", he needs to start living the experience of his body in a different way, relying on a different understanding of corporality. Therefore, the purpose of the article is to answer the question of what it means for a designer today to "think bodily" based on the Eastern understanding of corporality.
The authors of the article identify the main aspects of the "consciousness" of the body, which, in turn, is the support for the "bodily-oriented" thinking of the designer. Interaction with the world at the body level presupposes spontaneity (when the designer creates a sketch "instantly", but as if in passing) and relevance (when the design decision exactly corresponds to the time and place). The response occurs under the condition that the designer is internally calm, "empty", that is, likened to the world. The authors of the study conclude that for an Oriental designer, "thinking bodily" still means feeling the living connection of everything with everything in this world.

Abstract: The article is devoted to understanding the current concept of Japanese design, called "monozukuri" associated by the Japanese with the realm of the sacred, as it refers to the act of putting a new soul into a thing. In the Japanese tradition, "monozukuri" is also associated with "hitozukuri" (lit. "creating people"), that is, with the idea that a "good" product is produced by a "good" person. Therefore, design as "monozukuri" is broader than the understanding of design as a "craft". In the course of the study, the authors turn to the "artisanal source" of Japanese design, namely, the Westernized understanding of "handicraft" within the Mingei movement (developed since the second half of the 1920s), and then turn to overcoming this understanding in the later concept of Japanese design, which is represented by MUJI company (founded in 1980-year).
The purpose of the research is to understand the current concept of Japanese design, which is the most theoretically developed. The methodological basis of the work consists of historical (historical-genetic and historical-comparative) and analytical (formally descriptive and stylistic) methods of art criticism.
In the course of the study, the authors note that in Japan, where the social status of a master of traditional arts has always been very high, understanding design as "monozukuri" gives social weight to the profession of a designer. The authors of the study conclude that the requirement for the mental and physical development of a designer today should be considered not so much as a tool for mythologizing his personality, but rather as a condition for improving the quality of his work. This is all the more important because the development of technologies designed to facilitate the work of a designer, according to the authors, may lead to further emasculation of the profession.

Abstract: The relevance of the research is due to the ignoring of the topic of physicality in design propaedeutics, which makes it impossible to rethink and develop the avant-garde theory of composition in accordance with the requirements of the time. The authors of the article note that the linear logic of composition construction, accepted as a standard in Russian propaedeutics, is rightly criticized today by foreign researchers for reductionism. According to the authors, if the West is dominated by interest in the nonlinear logic of constructing a composition based on the iterative mathematics of fractals, then Eastern designers are looking for their competitive advantage in the international arena, turning to the subtle differentiation of experience and using the rhythm of empty and filled instead of geometric connections of forms. From the point of view of the authors of the study, the "oriental approach" is productive for the development of the designer's bodily sensitivity to form as a result of compositional shaping, and, consequently, in one form or another it can be applied in domestic propaedeutic courses. The purpose of the study is to use the example of specific composition exercises to show the current direction of development of "body-oriented" propaedeutics in design, according to the authors. As tools for developing the designer's bodily sensitivity, the authors consider composing poems containing pauses, since these pauses, on the one hand, give the listener time to perceive the poem with his whole body, and on the other hand, allow him to feel a one–body connection with the world: to feel the connection between things, between people, between things and people. The visual embodiment of pauses is the "excessive" ("dense") empty space between image elements or between material objects, therefore, as propaedeutic exercises, the authors propose to create compositions in which the emphasis is placed on the "movement" of empty space. At the end of the article, the authors turn to the structural basis of the composition, which allows us to consider it as a "force-form", since the composition connects elements with each other using empty space, which allows the viewer to feel the "lines of force" that transform the composition into a single organism. In conclusion, the authors emphasize the importance of "body-oriented" propaedeutics, which allows the designer to rely on a stable foundation without going into reductionism, as well as to see non–obvious relationships between different elements of reality and anticipate the development of emerging situations.

Abstract: The relevance of the research is associated with the emergence of a new approach in aesthetics, which can contribute to the development of a "body-oriented" design theory, as well as the formation of promising design concepts. The problem of the research lies in the low degree of formalization of the "embodied approach" in the domestic "science" of design. The authors of the study note that in the West, the most well-known trend within the framework of the "embodied approach" in aesthetics today is the so-called "somaesthetics" of the American philosopher R. Shusterman, in the article they describe the influence of this particular direction on the development of modern design thought. In the framework of the study, "somaesthetics" is considered as a "design project" aimed at transforming a person's body-mind, or his soma, so that through a developed "sensory receptivity" he can open up to a new aesthetic experience in everyday life. In the course of the study, the authors of the article come to the conclusion that "somaesthetics" acquires special relevance in environmental design and digital design, aimed at creating an exciting experience of human interaction with technology. Since the ultimate goal of "somaesthetic design" is the "somaesthetic transformation" of a person, the authors of the article bring it closer to Japanese design. However, according to the authors, for oriental designers it is important to understand the "one-bodyedness" of a person with the world, while in the context of "somaesthetics" the world is thought of as a source of fulfillment of human desires. In the design plan, this leads to the fact that the "oriental" design focuses on returning the consumer to his "somatic consciousness", while in the framework of "somaesthetic design" his task is to become aware of his body.