Abstract: The research is devoted to the issue of changing the understanding of design and its current state. Although design originated in the West, today the East is beginning to play an increasingly important role in its development. As a product of modernist culture, design initially followed the principle of "form follows function", but after a "semantic turn" it began to be understood as meaning-making, and form followed meaning. However, today the understanding of meanings only through the prism of "language" has exhausted itself, the understanding today is that design not only intellectually generated meanings, but also senses–sensations, therefore Western design theorists and practitioners began to look for alternative ways of developing design, which turned out to be consonant with the path that is being followed in the East today. The purpose of the article is to summarize some of the results of the alternative "linguistic" understanding of design in the West and in the East. The subject of the study is the change in the ways of meaning formation in modern design. Research methods used in the article are: - methods of synchronous and asynchronous analysis, that allowed us to analyze transformations in the understanding of design, both historical and regional; - the method of generalization, including comparative analysis, allows to understand the difference in approaches to design and shaping in different regions. The article presents modern design as a multicultural process, where different regions contribute to the general "theory" of design. However, the current eastern way of design is heterogeneous. Here we can highlight the Japanese vision of design – the "meditative approach", which involves reflection of sensations, reliance on personal experience, as well as the Chinese vision of design that is just taking shape today. We see China's potential contribution to the development of design in the inclusion of "embodied mind" in the design process, when the correctness of the chosen solution is determined not only by speculative calculations, but "resonates" with the feelings of the designer and the customer, as well as in the concept of "living form", when not only compositional or functional connections between elements are seen, but also the coherence of their movements. The Chinese approach can be called "vitalizing".

Keywords: living form, meditative design, meaning-sensation, semiotics, embodied mind, Chinese design, design theory, Japanese design, semantic turn, meaning-making

Abstract: The subject of the research is the reflection of the futurological image of the Moscow metro in the works of fine art of the pre—revolutionary period, as well as the phenomenon of the artistic evolution of ideas about the Moscow metro in the works of artists and engineers. The paper will also briefly consider the main projects of the Moscow metro, both visualized and not. Among the sources it is worth mentioning drawings from the book by A. I. Antonovich, N. I. Golinevich and N. P. Dmitriev "Moscow City Railway. (Metro)" (1902), illustrations by N. N. Karazin to the project of the metro by P. I. Balinsky and E. K. Knorre (1902) and a series of postcards by the Einem company "Moscow of the Future" (1914). The iconographic method and the method of stylistic and artistic analysis are used in the work. The main attention will be paid to the peculiarities of the authors' ideas about the future of the metro and the city as a whole.   The scientific novelty of this publication lies in the fact that the pre-revolutionary futurological images of the Moscow metro will be analyzed comprehensively, the connection of later works with earlier ones will be shown. A special contribution of the author to the study of the topic is the introduction into scientific circulation of N. N. Karazin's work "View of the Subway from the side of the Bolshoy Kamenny Bridge", which is known only by photocopy. This photocopy is published in this article. The main conclusion of the study is that all the images appeared by chance, but each series of works for its own reason. All the authors also depicted the Central Station in their works, which was never built.

Keywords: Moscow metro, Moscow metropolitan, Karazin, Antonovich, Einem, Metropolitan, Metro, Transport, Balinsky, Knorre

Abstract: The object of the study is the design of tea packaging in China. The subject of the study is the problem of the formation of a national features in the design of tea packaging in China. During the research, such issues as the brief history of the subject of research, the specifics of the modern view of tea packaging in China, the main factors in the formation of approaches to the development and design of tea packaging with national specifics, the concept of a "cultural and creative product" are traced. The problem of integrating elements of traditional culture and aesthetics into the sphere of modern design of tea packaging products is considered separately. In addition, an analysis of examples of successful design is given, in which the competent and effective use of cultural tradition is traced. The advantages of using one's own tea packaging language as a product promotion factor are revealed. The study involves the systematization of available information on the theory and history of tea packaging design in China. An integrated approach is used to create a holistic view of the formation of China's own design language for these products. The scientific novelty of the study is due to the fact that for the first time a complex of issues related to the problem of forming a national language in tea packaging design in China is being studied. Individual samples of modern Chinese tea packaging design are being introduced into scientific circulation. The author's main contribution to the research of the topic is to identify the grounds that determine the features of the process of developing one's own language in tea packaging design in China at the present stage. The main conclusions of the study: currently, the formation of China's own tea packaging language is associated with the actualization of cultural tradition and spiritual heritage, which is associated with the orientation of tea producers not only to the Chinese consumer, but also to a foreign audience. The development of a national language in the design of tea packaging has the character of adapting traditional culture and aesthetics, the principles of which are determined by the concept of a "cultural and creative product".

Keywords: visual culture, spiritual heritage, creative product, cultural product, designing, national culture, national tradition, tea packaging, packaging design, Chinese design

Abstract: "Chinese style" is a new form of combining Chinese and Western styles, formed on the basis of Western decorative art after a large number of Chinese exported works of art were imported to Europe in the XVII–XVIII centuries. The article takes the famous British country estate of the XVIII century as a starting point, and combines the relevant elements of interior decoration to analyze the influence of Chinese design on British decorative patterns and decorative techniques. "Chinese Style" is an innovative combination of Chinese and Western art based on Western decorative techniques.The article also analyzes the influence of the Chinoiserie style as a new art form combining traditional Chinese elements with Western forms on British decorative methods, with an emphasis on a specific study of this phenomenon.The purpose of the author of this study is to study and familiarize readers and the scientific community with the development and application of the "Chinese style" in British decorative methods of interior design. To achieve this goal, the author uses comparative historical, historical and cultural methods, iconographic method of description, as well as stylistic analysis, analyzes historical sources: historical documents, images, artifacts and literature. The research methodology includes a comprehensive approach to the study of the historical context and its impact on the formation of the British interiors. An empirical generalization of the material allows us to conclude about the significance of the above research and the influence of the "Chinese style" on modern decorative methods of interior design and design in Britain. The novelty of the research lies in the application of a combination of methods, analysis of historical forms to study this topic, which has been little studied in the segment of Russian historical science, which allowed us to obtain results that can arouse increased interest in the formation of the British interior among specialists. The author emphasizes the importance of the ability of design masters and architects to combine elements of Italian and British design to create a unique interior. The author's special contribution lies in the analysis of historical materials, practical examples of the successful application of the "Chinese style" in British interiors, which makes this article a valuable study for designers and lovers of interior art.

Keywords: interior design, Chinoiserie, modern applications, furniture, furniture fittings, decorative art, Britain, Chinese style, chinese room, exotic

Abstract: This article conducts a study of the typological features of visual territorial identity from the perspective of content and from the perspective of form, as well as approaches to its creation, on the basis of which a design algorithm is further formulated. It is noted that the separation of form and content in the analysis and design of such symbolism is extremely important from the point of view of correct reading and reflection of meaning, and a separate consideration of these aspects is a correct approach for art historical analysis. The article presents the author's classification of the typological features of territorial identity from the perspective of form and content; for the first time in technical aesthetics, these two important factors of formation are separated. The material is presented in the form of tables with detailed content, as well as figures; a comparative analysis was carried out with existing classifications of territorial identity, in which inaccuracies were identified. The most relevant approaches to creating modern visual identities of places are formulated – synthesizing, official-symbolic, national-cultural and natural-climatic, which received such names from the point of view of the underlying meaning. Based on the approaches to the formation of modern territorial identity highlighted in the article, a practical algorithm for the development of modern emblems of territories and their graphic identity has also been developed. This article conducts a study of the typological features of visual territorial identity from the position of content and from the position of form, as well as approaches to creating territorial identity, comparing the material with existing theoretical models. It is noted that the area under study is characterized by weak research in the field of science; fundamental works of Russian-speaking authors in this area are practically absent.

Keywords: typological feature, design, idea, meaning, form, content, emblem, territorial identity, composition, symbol

Abstract: This article is part of a larger study of design as a cultural phenomenon. In this part of the study, the author examines the process that is currently taking place in the semiotic structure of design, associated with the active introduction of neural networks into the creation of visual content. Artificial intelligence products stylistically take the design away from the fourth-order simulacrum (from the flat design style) and return the design to using the third-order simulacrum as the main iconic form.The object of the research is the transformation of the semiotic design system. The subject of the study is a return to the third–order simulacrum in modern design. The purpose of the study is to show and try to explain how in modern design there is a return to the use of a third-order simulacrum. The research method is a semiotic analysis of modern design based on the methodology of R. Barth's semiotic analysis. The study is also based on J. Baudrillard's theory of semiosis in hyperreality and three orders of simulacra. The author sees the philosophical justification of the art of neural networks in the concept of flat ontologies. The study of the semiotic structure of design allows us to see that the logic of design development carries this phenomenon through successive stages of semiosis associated with a decrease in meaning and a diminution of being. In its development, the design consistently uses first index signs, a second-order simulacrum, then a third-order simulacrum as the main sign form. Nowadays, the main iconic form in design has become a fourth-order simulacrum. Next, design had to either end as a profession and phenomenon, or move into a new cultural paradigm that was not related to simulation. However, unexpected transformations have begun to occur in design, due to the active involvement of non–human agents - neural networks – in the creation of visual content. Neural network products are a typical example of a third-order simulacrum. Thanks to the use of neural networks, modern design finally acquires the vector of transhumanism and closes in simulation.

Keywords: flat ontologies, semiotic system, simulation, simulacrum, artificial intelligence, transcendence, neural networks, Design, postmodern, metamodernism

Abstract: The object of the study is the cultural space of the city. The subject of the study is the morphological properties and mythological plots of the cultural space of the city (using the example of Komsomolsk-on-Amur). The author examines in detail the complex study of the cultural space of the city in the prism of historical-cultural, philosophical-cultural, psychoanalytic, symbolic, linguistic and semiological approaches. The author's method of exploring urban space has been formed, based on the line of myth (lemniscata Bernoulli). Literary and artistic works have been studied and reviewed to identify archetypal models and their morphological properties of the city of Komsomolsk-on-Amur. Some mythological plots and ways of transforming cultural space are revealed. Special attention is paid to the analysis of artistic texts to identify the artistic image of the cultural space of the city. The description of a number of architectural objects and the interpretation of some decorative elements are presented. The study uses traditional approaches to the study of the cultural space of the city, and also attempts to complement the boundaries of the study based on the interpretation of mythical plots, mythologems using a technematic component – the Bernoulli Lemniscate. The scientific novelty of the research lies in the fact that on the basis of traditional and technematic approaches, the cultural space of the city of Komsomolsk-on-Amur is studied based on the analysis of mythological plots of the city of Komsomolsk-on-Amur, artistic texts, literary and architectural works. The morphological properties of the cultural space of the city are revealed. The main conclusion of the study is that using an interdisciplinary approach in the study of the cultural space of the city, opportunities for its identification have been identified. With the help of technematics or mathematical analysis, interpretation of literary and artistic texts, as well as a comprehensive study of architectural objects and its decorative, expressive means, it became possible to interpret this knowledge as a way to transform the cultural space of the city. This study opens up opportunities for a more thorough study of the myth line as one of the possible options for transforming the city's space, preserving historical, architectural, artistic and literary heritage.

Keywords: technematics, mythologeme, Lemniscata Bernoulli, the Soviet city, The archetypal model, The archetype, mythological plot, The myth, the cultural space of the city, morphology of culture

Abstract: The object of the study is modern design as a cultural phenomenon. The subject of the study is design as a metalanguage of the modern information space – hyperreality. The relevance of the research is determined by the globalization of communication, characteristic of the modern socio–cultural situation: today communication takes place in hyperreality, which makes national languages a special case of communication - the whole world begins to communicate in a metalanguage understandable anywhere in the world, and today design becomes such a universal language. The novelty of the research is due to the very formulation of the question: until now, design has not been considered as a metalanguage of hyperreality. In addition, the study reveals the problems of modern design associated with the modern stage of its functioning in hyperreality.The purpose of the study is to show that in the conditions of globalized hyperreality, design becomes a metalanguage, a semiotic system built on top of the semiotic system, which is the modern information and communication space. The main method of research is the semiotic analysis of the design environment. The research is mainly based on the material of modern flat design, which is the most representative form of the existence of design at the present time. The main conclusions of the study: the socio-cultural environment of modern man is hyperreality. Hyperreality is a metalanguage in relation to primary reality. But hyperreality itself uses a metalanguage as the main language, this metalanguage is design. Design builds a system of images and connotations over the world of things, thus creating a metalanguage, or semiotic system of design. Modern design uses simulacra signs as the main sign form, since hyperreality in its development tends to distance itself from the primary reality, and develops its syntactic and paradigmatic structure, which is fundamentally different from the primary reality. The uniqueness of design as a metalanguage lies in the use of simulacra, signs that are fundamentally not expressive, not adapted for adequate transmission of information.

Keywords: modernism, navigation, language, communication, semiotic system, simulacrum, metalanguage, design, hyperreality, information space

Abstract: The object of the study is culture in terms of its aesthetic component (art and design). The subject of the study is design as a cultural phenomenon. The author suggests that design from a philosophical point of view contains meanings that are not described by the traditional number of aesthetic categories. The author demarcates the categories "design" with the categories "art" and "aesthetic", consistently identifying differences in the following parameters: 1. functional difference; 2. difference of origin; 3. semiotic difference. Having distinguished the design category from the art category, the author reveals the specific semiurgical essence of the design category. Semiurgic design is associated with projective activity, that is, the activity of creating new signs. Design is associated with the design of secondary reality and the gradual doubling of the world. The main conclusion of the study is an attempt to derive the formula of the philosophical content of the category "design". The philosophical category "design" is associated with the aesthetic organization of secondary reality and is characterized by projectivity (orientation to innovation), transitivity (orientation to real application), functionality (orientation to optimal application), immanence (lack of connections with the transcendent) and semiurgicity – the function of creating new signs. The semiurgic nature of design lies in the constant reproduction of itself, since the discourse of design "new" becomes synonymous with design and loses the meaning of the dialectical negation of "old". The design is associated with the symbolic doubling of the world. Moreover, this doubling does not increase the meaning and value of being, but, on the contrary, enhances the illusory nature of being, since design, unlike art, is not associated with pointing to a transcendent reality.

Keywords: symbolic doubling, transcendent, semiurgy, semiotics, categories of aesthetics, aesthetic, art, Design, modernism, postmodern

Abstract: The object of this research is design as a cultural phenomenon and its historical formation. The subject of the study is the modernist design episteme, which began its formation in the paradigm of modernity. The purpose of the study is to show that in the modernist project, the development of design as a cultural phenomenon was not rigidly determined, and could have taken a different path. However, the historical choice was made in favor of American functionalism and European international design. International design creates a subject and information environment that is suitable for any country, regardless of the cultural context. This design meets the goals of globalization. At the same time, the essence of design also allows for such applications as the aestheticization of reality and the preservation of cultural identity. The main conclusion of the study is that the historical development of the design phenomenon could have taken a different path. The current state of design is determined by the vector of globalization, which was set during the transition from to modernism. This vector is the result of a choice in favor of functionalism, a style that meets the ideology of globalization, the transformation of society into a homogeneous consumer environment. It was during the Art Nouveau period that the genesis of design could have taken a different path, since Art Nouveau was originally a project of aestheticization and spiritualization of the subject environment, however, history has developed so that design has chosen a vector of development associated with functionalism. The scientific novelty of the study is connected with this conclusion, since so far the history of design has been interpreted unambiguously, from the standpoint of the advantages of international style and functionalism. While the phenomenon of design is broader, and may include the possibility of preserving cultural identity, which was discussed in the modern era.

Keywords: environment, aestheticization, design episteme, cultural identity, globalization, international style, functionalism, modernism, Art Nouveau, Design

Abstract: The Henan Museum is one of the first museums in China which requires modernization of its design. This work is devoted to the development of a new design concept for the Henan Museum space, the hall of musical instruments of the Great Silk Road, in order to develop recommendations for further brand promotion in the field of tourist attractiveness and the development of the local economy. The object of the study is the museum of Henan Province, China, the subject is the influence of the museum brand on the popularization of ancient Chinese culture. The analysis of some Asian museums is given, the stages of the museum's formation are described, the elements of rebranding are developed: logo, booklet, poster, website, advertising products of the museum. The concept of the design of the exhibition hall "Musical Instruments of the Great Silk Road" was proposed, visualizations were made and a video flight of the hall was created, with a visual representation of the exhibits for remote access and viewing. A situational approach to the organization of the environment was used when developing the design of the museum space. The scientific novelty and theoretical significance of the research lies in the rebranding of the Museum of Culture, in the development of a new concept for the design of the exhibition hall of the museum space of the Henan Museum. Some modern trends in the development of museum space design on the example of domestic and foreign museums are discussed.

Keywords: rendering, computer model, booklet, logo, museum space, history of the museum, stages of formation, the brand of the museum, design concept, the museum

Abstract: The subject of research in this article is the concepts, directions and definitions of urban design that exist in different countries today. The novelty of the study is to identify their features and problems associated with the lack of a unified theoretical and methodological approach to urban design. The main trends of urban design, the principles of the formation of urban spaces are considered, categories and concepts of design reflecting the environmental values of the urban environment are proposed. An attempt is made to show that these contradictions can be solved by expanding the problem field of urban design by including environmental, anthropological and psychological issues to create innovative design projects. It is in the value attitudes that the differences of many concepts are most clearly manifested. The necessity of an integrated approach to the design of the urban environment is substantiated. For this purpose, a strategy of urban design is proposed, summarizing the key modern scientific and applied points of view in this area. It defines the connections, coincidences and complementarities between different conceptual approaches, the emphasis is on human-centered design and innovation. It is focused on modeling a virtually new synthetic environment with increased comfort indicators without compromising the natural environment. The relevance of this approach is due to the widespread opinion that it is impossible to achieve ecological balance within an urban settlement. The result of the study was the identification of the main themes and problems that urban design is able to solve at the present stage.

Keywords: environmental friendliness, values, an integrated approach, methodology, strategy, multifunctionality, urban environment, multidimensionality, problematization, urban design

Abstract: The subject of the study is a design episteme - a system of logical connections and ways of forming concepts within a semiotic design system. The design episteme is considered in dynamics: currently, a logical impasse is being outlined in design, inspired by the ideology of modernism. The ideology of modernism in its logical development leads the semiotic system of design to the use of signs-simulacra, which, in turn, leads to the practice of design to the end. The way out of this situation may be a turn in the development of the design episteme to a fundamentally different pole of thinking. The author uses the method of semiotic analysis, which allows to identify the main type of signs that is used in the modern design episteme. In addition, the methodological basis of the study is Plato's concept of the world of ideas as applied to modern design. Examples of aesthetic relativism in modern design are given as the body of the material, these examples explicate the defocusing of the design episteme. The main conclusion of the study is that the modern design episteme is in a logical impasse due to the use of a fourth-order simulacrum as the main sign form. A fourth–order simulacrum is a sign that not only does not refer to an internal referent, but also whose external form tends to zero. Such a sign does not imply the existence of design as a principle of organization and design of the interaction of the signifier and the signified in the sign. The design episteme, which does not imply design, is in a state of defocusing. The way to reassemble the design episteme is to switch to a different paradigm. From the materialistic and horizontally oriented paradigm of modernism, the design episteme should move into a vertically oriented paradigm. The basis for building thinking in the field of design in a vertically oriented system is Plato's concept of the world of ideas.

Keywords: signifier, signified, transcendent, sign, hyperreality, eidos, simulacrum, episteme, design, Modernism

Abstract: The subject of research in this article is the phenomenon of multifunctional objects and objects of the environment. The novelty of the research lies in identifying their features and trends associated with the lack of a unified and methodological approach in the theory and practice of design. In this regard, the issues related to the principle of multifunctionality in certain types of design are considered. Various components of multifunctional design as a progressive and affordable symbiosis of design solutions are highlighted. It was found out that modern design design is focused on the creation of both individual objects that include more than one function, and the environment as a whole. The relevance of this topic lies in the inability to organize a comfortable urban environment with the help of individual compositions. Therefore, the idea of an integrated approach, the organization of the human habitat by design means on the basis of multifunctionality and a multifaceted study of this issue has matured. The result of the study was the systematization of disparate knowledge, the identification of common conditions and factors for the formation of multifunctional objects and environments: efficiency, comfort, convenience, ergonomics in use or usability, modular principle and manufacturability. The definition of multifunctionality as the basic principle of design will expand the range of design design issues, its typologization, mutual adaptability and universality of the creative approach in work.

Keywords: subject design, manufacturability, ergonomics, usability, modular principle, design, versatility, function in design, Multifunctionality, environment design

Abstract: The article presents the results of a systematic analysis of the visual identification of exhibition projects and identifies the specifics of designing an exhibition identity, which is an important means of communication that attracts visitors. Within the framework of this article, the authors set the task of generalizing the experience of identifying exhibition projects and identifying the specifics of designing an exhibition identity.The subject of the study is the identity of modern exhibition projects in Russia, Germany, Finland, Australia and China, in which all elements, from the logo, printing products, website to the design of the expositions space are interconnected and represent a single complex. The projects created in large museums with a recognizable brand and established reputation among visitors are analyzed, as well as small exhibition projects, the organizers of which can spend minimal funds on implementation. Based on the Finnish experience of designing museum identity, modern approaches to the creation of exhibition projects of various orientations are systematized, in which the exposition and media about it are designed as a single system in which shaping, typography and visual metaphors form a single imaginative solution, expanding the possibilities of advertising media about the exhibition project and using new channels of information transmission. The conclusion is made about the specifics of the exhibition identity and the factors determining it: the specificity of the exhibition as a special event determines an integrated approach to the development of identity to ensure the synergistic interaction of elements of the visual identification system.

Keywords: typography, graphic design, shaping, designing, communication, identity, exposition design, exhibition, exposition, visual identification

Abstract: This article is discusses the works of the graphic designer Alex Steinweiss (1917 – 2011), who was involved in music industry of the United States. The author examines the causes and effects of the emergence of a new trend in graphic design, associated with the design of music album covers, as well as analyzed some of the covers invented by Steinweiss in the 1940s. A brief overview is given to the evolution of sound recording media and their packaging. The subject of this research is the art of Alex Steinweiss, while the object is the envelopes for LP vinyl records, invented by the designer during his work for the Columbia Record Label (1930s – 1940s). The relevance of this article is substantiate by the new wave of interest in vinyl records, and thus graphic design in the context of music industry, as well as by the demand to prepare specialists for working in modern music industry. The novelty lies in examination of causal link of the emergence of new trend graphic design on inventing music album covers. The conducted research indicates the influence of a number of socioeconomic factors and activity of Alex Steinweiss upon the emergence of a new trend in graphic design. The author concludes on the relevance of studying the creative path of Alex Steinweiss for the students and representatives of art professions.

Keywords: record sleeve, cover design, vinyl record, Alex Steinweiss, music album, music production, graphic design, music, media packaging, designer

Abstract: The subject of this research is the social and conceptual prerequisites for the formation of inclusive approaches towards design in Russia in the late XX century. The goal consists in determination and analysis of inclusive discourse in the USSR as an additional factor for the formation of modern inclusive practice in Russia. The article refers to the analysis of the Soviet theoretical heritage, which has developed similar issues since the 1920s. Brief overview is given to the genesis of available design in Europe, United States and Russia, specificity of popular inclusive concepts. The author explores the inclusive discourse in the USSR, which includes human-oriented ideas, concepts and approaches in the social sphere and design. The novelty consists in consideration of the works of Soviet theoreticians in the area of design in the context of modern inclusive approaches, which allowed characterizing the unique inclusive discourse in the USSR as an additional factor in adaptation of foreign inclusive methodology to the Russian realities; the new ideas for its development are introduced. The following conclusions are made: 1) the Soviet theory of design has developed sufficient grounds for the formation of the original inclusive concept with social process-oriented nature and operation on the level of functional ties; 2) In development of inclusive methodology, it is more effective to refer to any existing inclusive concepts adaptively, rather than mechanically, since the leading factor of adaptation lies in correspondence with the local sociocultural context; 3) for the Russian sociocultural context, most organic is the concept of universal design due to its international character and focus of delicate integration of various social groups.

Keywords: Soviet Design, Social inclusion, Accessibility, Open Form, Technical Aesthetics, Accessible Design, Inclusive Design, Inclusive discourse, Universal Design, Design for All

Abstract: The subject of this research is the Muslim minarets in general and Iranian minarets in particular. The goal consists in forming a typological classification of Muslim minarets, and based on that determine the specificity of the Iranian types of minarets. The article employs iconographic, iconological and cultural methods, and stylistic analysis. The author set the following tasks: determine different types of Muslim minarets; select the Iranian examples among them; determine the degree of prevalence of these types namely in the Iranian architecture; formulate the peculiarities of the architectural image of minaret that emerged in the context of Iranian architecture. For objectivity, the author established the timeframe –since the VII century to the late XVIII century, which marks the Iranian medieval Muslim culture. The scientific novelty is defined by the importance of knowing the characteristics of Iranian minarets, which are perceived as a symbol of Iranian faith. Familiarization with the architectural peculiarities of the minarets reveals the specificity of the Iranian religious architecture and Iranian culture as a whole. The acquired results demonstrate that the Iranian minarets are notable for their cylindrical shape, unique decoration, pairs of towers, location next to the doorway of the mosque ornamenting the sided. One of their primary functions to accentuate the major portal of the mosque. For the most part, Iranian minarets are rather representative and decorative, than resemble a fortress.

Keywords: Seljuk period, mosque, Islam, Iranian art, Iranian architecture, minaret typology, minaret, Timurid period, Safavid period, Qajar period

Abstract: This article is aimed at studying and systematization of key techniques in designing ethnic interior, namely in Japanese restaurants located in Russia. The research defines the difference in perception of space in Japanese and European culture, as well as determines usage of traditional and innovative solution methods of an artistic image. In practice, the conducted research may become an evaluation category in analysis of creative techniques of modern authors who implement Far Eastern theme in designing restaurant environment. The subject of this research is the artistic and decorative approaches in the context of interpretation of authentic Japanese environment. Within the framework of established approaches, the author determines the additional design solution methods. The object of this research is the restaurants of Japanese cuisine that are located in Russia and designed by European authors. The novelty consists in systematization of the key compositional techniques in design of modern restaurants with ethnic concept in Russia. It is established that the leading approach in design is the interpretation of components borrowed from authentic architectural objects and decorative art, as well as formation of associative impressions for reflecting the ethnic theme. The approach based on interpretation of the known by European recipient architectural and decorative techniques of object-spatial environment is dominant, which allows viewing the elements of interior and traditional decorative art as a leading component of authentic culture that undergoes stylization in formation of an artistic image of modern restaurants.  

Keywords: stylization, modern interior, interpretation, decorative art, design techniques, traditional Japanese interior, project method, restaurant interior, Japan, minimalism

Abstract: Recent decades are characterized by the heightened interest towards the Russian traditional culture. Among the markers of ethnic hue of an art object or a product, special place belongs to the ornament. The article examines the problems of development, transformation and adaptation to modern conditions of the traditional Slavic ornament used in design of packaging. The object of this research is the graphic element placed on the most popular lines of generally accessible food products featured in the chain supermarkets. The choice is substantiated by the general accessibility, mass production of the goods and its wide regional coverage, which ensures maximal interaction with the Russian consumer. It is established that the elements of Slavic ornament are widely used in design of packaging of food products. Preference of manufacturers is given to the elements of Khokhloma and Gzhel painting as most famous and brand-named Russian traditional crafts. The author observes the active search for color, compositional and thematic solutions, which testifies on its inevitable adaptation and transformation of traditional elements, as well as points at their problems in preparation of specialists in the area of design, who at time are not familiar with the semantic-conceptual field of the used ornaments. This leads to the occurrence of associative dissonance in perception of food products and their packaging. Utilization of the traditional ornament in this applied sphere is one of the ways for preservation and development of national culture, which forms an essential associative layer in public consciousness and requires careful application.

Keywords: packaging design, Gzhel, Khokhloma, ornament symbolism, traditional ornament, Slavic ornament, folk crafts, transformation, adaptation, preservation of traditional culture

Abstract: This article examines the trends characterizing the development of Omsk architectural environment of the 1960’s – 1980’s. The unfolded transformations are views in relation to the historical-cultural context and historical-architectural process. The author analyzes the nationwide trends, as well as the regional specificity. The peculiarity of this research consists in drawing parallels between the architectural-artistic and historical-cultural processes. Attention is given to such questions as the shift in stylistic trends, residential construction, and erection of significant objects of public designation. Alongside studying the special scientific literature and sources, the author attracts the materials of city dwellers’ reminiscences that contain the information of reflective character for understanding their perception of ongoing changes within the urban environment. The acquired results allow characterizing the development of architectural environment of a large Siberian city (Omsk) during the Developed Socialism period (1960’s – 1980’s) in correlation with the historical-cultural and architectural-artistic contexts. The presented materials may be used in city planning decisions and development of conceptual framework of the regional cultural policy. The article is relevant for the specialists in the history of architecture and construction, as well as broad audience interested in history and cultures of their region.

Keywords: citizens perception, architectural ensembles, historical and cultural context, significant objects, stylistic features, Omsk, architecture, urban environment, Soviet period, construction of buildings

Abstract: The object of this research is kite festival in the Chinese city Weifang in Shandong province. The subject is the impact of graphic support of the kite festival upon heightening interest in the folk culture. The development of a new design concept of hosting a festival would increase its attractiveness and popularize traditions of the Chinese folk crafts. Having originated in China, the kites rapidly spread among the neighboring countries of Southeast Asia, and later appeared in Western countries. Kite festivals were used extensively – from entertainment events to translation of information, and even military purposes. The goal of this work consists in identification of peculiarities of the Chinese traditional folk art with regards to hosting public cultural events on the examples of the International Kite Festival in Weifang. The authors analyze the specificities of logos and event posters of the hosted festivals, and propose the criteria for the analysis of advertising and graphic information. The new design ad graphic support of festivals alongside the recommendations on arranging space for the festival are developed. The research results, designed tools and new concept of graphic support for holding a kite festival in Weifang would help to popularize Chinese cultural traditions and increase its tourism attractiveness.

Keywords: festival space, booklet, poster, graphic accompaniment, logo, culture of China, kite, festival, design concept, tourist appeal

Abstract: The article focuses on the problem of applying the ideas of ecological development of the environment in artistic creativity. Moreover, the author thinks about how to show the connection and interconnection between human and technology through the creation of design products. The creation of "Remembering The New" project was a result of comprehension of these issues. This project represents an office chair for two people with the functions of tilting the back, raising and lowering the seat. The innovative character of the project is due to the reuse of the materials. Since the environmental design was created as an interdisciplinary field, the author had to not only describe the background and the process of the project creating but also to analyze the occurrence and development of environmental ideas from a social and historical point of view. Through the method of theory and practice combining, the author came to the conclusion about the social significance of the ideas of ecological development in environmental design. Their use in artwork influences the popularization of the ecological concept in society as a whole. Thus, the project "Remembering The New" has an interactive character, showing the interaction between human, technology and the environment.

Keywords: office chair, installation art, reuse, utilization, green design, ecodesign, ecological concept, sustainable development, interactivity, social significance

Abstract: The article raises the question - on the basis of what criteria to carry out the reconstruction and typology of appearance and structure in the architecture of buildings and features of the urban environment. The author suggests such criterion as "architectural process". The main characteristics of the architectural process are observed: design, economic, and social ones. On their basis, three types of architectural solutions, corresponding to three types of design, are outlined ‒ typical, individual and mixed one. Also, these solutions make it possible to determine three types of architectural appearance of buildings and the environment. The following research methodology was implemented: problem statement, historical reconstruction, comparative and situational analysis, socio-cultural analysis. As a result of the study it was possible to show the need for the reconstruction of the types and features of the appearance of modern architectural buildings and the environment, to address the analysis of, on the one hand, the features of architectural design, and on the other ‒ of the socio-cultural conditions and requirements. A variant of such reconstruction is also proposed.

Keywords: reconstruction, solutions, appearance, environment, buildings, design, architecture, concepts, process, project

Abstract: The subject domain of the research is contemporary approaches to the analysis of possible application of traditional costume composition principles in modern fashion design. The author of the article describes systemic features of costume composition that provide many variants of elements combination and create opportunities for never-ending production of new costumes. The author focuses on the concepts that are put to practice by the designers who create fashionable clothes based on folk aesthetics (Russian, Buryat, Mari, Chinese, Japanese, etc.). The interdisciplinary nature of the research has made the author to apply the systems approach that involved art history, ethnographical, psychological and culturological approaches. The author has also applied the comparison method to analyze famous concepts of the structural functional analysis of traditional costume as a source of modern style in clothing. As a result, the author of the article describes the following consistent pattern: clothing design is based not only on visual means of traditional costume composition but mythoepic heritage of the people and ethnic picture of the world in general. This makes a fashionable costume understandable and popular outside the ethnic environment where it has been created. In conclusion, the author states that modern science and artistic practice offer several levels of understanding the problem of using the ethnic style in fashionable clothing coming from simple to complicated, from elementary to integral, from practical to philosophical. 

Keywords: art and design analysis, costume composition, reconstruction, stylization, ethnic style, shaping, fashion, traditional costume, design engineering, conceptualization

Abstract: The object of the research is the nature of perception and means of interpretation of the medieval architectural heritage and traditions of the High Victorian epoch. Sokolova also analyzes the influence of John Ruskin's ideas on the development of aesthetic preferences in the English architecture of the epoch. The subject of the research is the English country houses designed by such architects as Richard Horman Shaw, William Eden Nesfield, and Gilbert Scott. The researcher also focuses on the books of John Ruskin The Stones of Venice and The Seven Lamps of Architecture and their influence on the development of particular aesthetic preferences. Sokolova performs a detailed formal stylistic analysis of the frontal composition and architectural decor of English country houses in the aforesaid epoch. Despite a common belief, masters of the British Gothic Revival were not inspired only by the images of the national architecture. Thaks largely to John Ruskin's writing that has become so popular lately, the interest of architects shifts towards the medieval heritage of other European countries including Italy. 

Keywords: Gilbert Scott, William Eden Nesfield, Richard Norman Shaw, John Ruskin, medieval tradition, High Victorian epoch, architectural heritage, English country house, British architecture, Gothic Revival

Abstract: Designing the visual interaction of a letter and a hieroglyph in a multicultural field of graphic design is a very topical issue. The problem is that in practice graphic solutions often turn out to be a vulgar stylization, since the figures of a letter and a hieroglyph are associated with fundamentally different cultures of writing. To solve the problem of stylizing a letter to a hieroglyph, the author of the article proposes to analyze the experience of Korea that uses a unique syllable alphabet that looks like hieroglyphs, and therefore is a bridge between letter and hieroglyphic writing. Accordingly, the object of the study is Korean calligraphy, and the subject is the visual adaptation of the Korean alphabet letter to hieroglyphs. The author of the article relies on Korean and Japanese sources, among which it is worth highlighting the collection of scientific reports at the international symposium in Niigata (Japan, 2015), devoted to the problems of aesthetics of calligraphy of China, Korea and Japan. As a result of the study, the author identifies three historically established ways of visual adaptation of Hangul to hieroglyphs (actual and for letter) which are not reduced to stylization since they express the Korean idea of beauty itself. Since the hieroglyphic letter is not rooted in the national tradition, the author considers the search for the identity of calligraphy with a brush as the most important task of the designer allowing to significantly improve the quality of stylizing the letter under the hieroglyph.

Keywords: letter, Meot beauty, identity search, stylization, Hangul writing, alphabetical writing, Korean calligraphy, Chinese character, graphic design, package design

Abstract: The object of the research is the Museum of Sun as a monument of Inca culture located in Ibarra, Ecuador. The subject of the research is the influence of the museum brand on the development and popularization of Inca culture. The aim of the research is to analyze and develop a new museum space design concept for the purpose of giving recommendations on how to promote the brand and make it attractive for tourists as well as to enrich its contribution of the local economy. The research is devoted to the development of the museum space design concept in relation to Inca culture as presented by the Museum of Sun (Museo del Sol) located in Ibarra, Ecuador. The author of the article describes peculiar features of developing the museum space and design concept and describes modern trends in organisation of history museums in Latin America. The researcher gives a review of graphic tools used by Latin American museums of culture, archeology and history. The author also provides an insight into the historical grounds of the Inca culture museum and analyzes iconography of Inca civilization at different periods. The researcher describes the current state of the Museum, history of its formation, and grounds for creating a new brand. The author also describes an association series of graphic tools for creating a new logo of the Museum, describes the basic colours that should be used, presents the main parts of the brand, advertising and graphic tools, and offers a concept of the museum space organisation. The results of the research should be used to enrich the brand of the Museum of Sun, raise  its social importance for popularization of Inca culture and promotion of the monument. 

Keywords: corporate colors, booklet, logo, museum brand, Inca iconography, Inca mythology, Inca culture, museum space, design concept, advertising and graphic complex

Abstract: The article is devoted to the rapidly developing modern art and design phenomenon, digital sculpture. The authors of the article state that despite a broad popularity and active practical use of digital sculpture in various kinds of modern life, researches of this phenomenon have only started. Within the framework of this research, the authors view the most important problems of digital sculpture that, in their turn, create directions of relevant research. The object of the research is the digital sculpture and the subject of the research is the directions and problems of studying this phenomenon. Historical comparative and analytical approaches used by the authors allowed to analyze historical, technological and expressive aspects of digital sculpture that relate to both the process of digital sculpture creation and associated software (ZBrush, Sculptris, 3D-Coat, etc.). The novelty of the research is caused by the fact that in the process of their analysis, the authors define the most promising directions for studying the phenomenon of digital sculpture, each can serve as an individual research subject in the future. These directions include: 1. accumulation and generalisation of research methods and historiographic basis; 2. development of the framework of terms and methodologies; 3. analysis of the history of sculpture and software development; 4. analysis of artistic features of such artwork as well as particularities of using digital sculpture. 

Keywords: terminology of digital sculpture, directions of research, problems of studying, 3D sculpting, sculptural modeling, sculpting, three-dimensional modeling, digital sculpture, artistic features, features of using

Abstract: The object of the research is the origin and development of the concept of 'visionary architecture'. The authors of the article analyze prerequisites for that branch of architecture. The authors of the article give certain names of artists and their artwork as well as contests those artists participated in. The authors also describe materials used by architects and students to create artwork for contests. They give a description of semantic particularities and analyze the graphic language and historical role of that phenomenon in terms of the development of the world architecture and education in architecture in particular. The research method is the generalization of the experience in 'visionary architecture' projects that allows to define the main cornerstones in their creation. The scientific novelty of the research is caused by the fact that the authors view visionary architecture as an essential part of the development of architecture back in those times. This branch of art is a natural process in the development of modern architecture in Russia as well as around the world in general. The authors of the article conclude that visionary architecture is not an isolated or temporary or forced phenomenon but continuation and further development of architecture fantasies started by graphics of Giovanni Battista Piranesi, Pieter Bruegel and Yakov Chernikhov.

Keywords: international architectural competitions, stagnation, idea, fantasy, subject, architecture, graphic arts, competition, project, postmodern concepts

Abstract: The subject of the research is the nature of interaction between differently structured composite photo images combined with artwork elements for the common purpose of creating a single image of an advertising design project. The object of the research is a composite photo image as an element of an advertising design project aimed at creating an effective advertising image. The author of the article examines such features of photo images as an objective reflection of the reality and extended personal vision as well as analyzes the advertising layout in terms of different messages being conveyed. The author pays special attention to the correspondence of iconic and symbolic elements of a composite photo image. In this research the author has used such methods as the systems approach when analyzing peculiarities of interaction between photo images of different nature combined with graphic artwork elements for the purpose of creating a single image of an advertising design project as well as the comparative method to classify features of photocollage structures. The main conclusion of the research is the following: there is a certain paradox attributable to the photographic nature of images used in an advertising layout. This is an undervalued role of the iconic element of a message compared to the symbolic element thereof and at the same time a high level of documentary accuracy typical for photography which allows to use a composite photo image instead of a traditional one sacrificing some documentary accuracy but retaining the symbolic element of the iconic message. The special contribution to the topic is the author's classification of composite photo images depending on the principle of their form making. 

Keywords: abstract photography, form making, symbolic message, iconic message, design project, photocollage, photographics, advertising design graphics, graphic design, photo image

Abstract: The article is devoted to famous architectural designs of a genius Russian designer, engineer and philosopher Vladimir Shukhov amid historical processes ongoing in Russia and the other world at the end of the last century. The authors of the article provide an evaluation of his creative activity and study the influence of Shukhov on the development of constructivism and bio tech. The authors raise a question about the role of Shukhov’s original projects in engineering and architecture as well as architectural styles and esthetic philosophical movements of the first quarter of the 20th century. In particular, it is underlined that the opinion on Shukhov being an adept of constructivism can be partly disapproved. In this connection, the authors describe disputes of the leaders of Russian constructivists on Shukhov’s masterpieces. The last part of the article is devoted to the definitions of constructivism as a movement in architecture and art, on the one hand, and a logical-mathematical and philosophical approach, on the other hand. In their research the authors have used the methods of immanent criticism which was quite popular in philosophical researches of the 19th – 20th centuries. The immanent approach means an analysis of a theory using terms and categories of the same theory. Analogy is also one of the most central methods in the authors’ research. Allowing to make valid conclusions based on particular examples, analogy is a descriptive and evidence-based method. It is underlined that analogy formed the basis of Shukhov’s thinking as a philosopher and inventor. In their research the authors have used the general scientific method of historicism allowing to compare dynamics in different spheres of culture with the situation in the country and the other world. This article is the first attempt to describe Shukhov as a messenger of modern bio tech. It is also for the first time in the academic literature that someone tries to describe Shukhov as an engineer who followed humanistic concepts of his epoch. Noteworthy that so far Shukhov’s principle ‘to learn from nature’ hasn’t been paid enough attention in similar researches. That was the core principle in mathematical engineering design of the Russian designer and scientist and later the same principle had a dramatic impact on bio tech activists. The authors of the article also make an attempt to view Shukhov’s activity from the point of view of social philosophy and history of intellectual culture. The authors discuss the influence of Shukhov on modern bio tech architecture. Viewing Shukhov’s ideas in terms of modern bio tech is what creates the novelty of the present research article.

Keywords: Social responsibility of an engineer, ergonomics, Vladimir Shukhov, architecture of high tech, social aspects of bio tech, constructivism, Russian architecture, engineering solutions, Shabolovskaya TV radio tower, trainshed of the Kiyevsky railway station.

Abstract: The article is devoted to the development of symbols of state in Moscow throughout the times: the Kremlin (still remains a symbol) and Ivan the Great, Pokrovsky Cathedral on the Moat, the Cathedral of Christ the Saviour, the Palace of the Soviets with its supertall skyscrappers, Moscow International Business Center ‘Moscow City’. The author describes the governor’s idea of Russia’s role in world affairs reflected in each architectural symbol. It is stressed out that there were no such architectural symbols of state in 1920 and 1960 – 1980 when the functional architecture ruled and only architectural signs were created. The author also discovered the meaning of compositional and planning connections between the symbols, for instance, between Ivan the Great and neighboring cities and important manors of nobility built near Moscow; between the Palace of the Soviets and new Stalin-era buildings, and etc. Traditional meaning of architectural axis buildings also expoains the current tendencies in developing the south-west of Moscow.

Keywords: cultural research, symbol, statehood, Moscow, architecture, urban development, sign, axis, history, simulacrum.

Abstract: This article is written on the basis of natural and historiographical analysis, devoted to the problems of development of the national architecture in the Soviet Union of the 1930s. It has been studied as an experience Tatar Autonomous Republic, namely, the example of Kazan 1920 - 1930’s. The emphasis is on residential (living) architecture. Article renovated all-union background of formation of national styles in the Soviet Union, as well as analysis of the main achievements (building) in Kazan. Authors formulated a framework, which based of the synthesis of the national architecture in the regions under three scenarios: absence, discontinuity and continuity of national tradition in architecture in the region of the USSR.

Keywords: Soviet neo-classicism, the national architecture, the classical tradition, the Tatar Auto no mous Soviet Socialist Republic, Korenizatcia (indige nization), Kazan 1920 - 1930’s., National-ro man tic revival of the early XX century., Traditional / innovative approach, «neoarmyansky style», «Ukrainian style» historicism.

Abstract: In order to start Renaissance, architecture of every European country (except for Italy) needed a combination of the four basic factors including, in the first place, a group of people ready to perceive Antique forms and ideas: masters –creators, mighty customers and thinkers which could either perceive the philosophy of Italian or Byzantine humanism or create their own ideology which would evolve around the Rome Empire or Byzantium. New forms appearing during the years when the Moscow architecture was close to Italian Renaissance of the 15th century, was determining its development for quite a long time.

Keywords: cultural studies, art history, culture of architecture, Renaissance, diplomacy, dialogue of the East and the West, Moscow at the Third Rome, Russian and Italian connections, Renaissance forms of orders, new type of thinking