http://dspace.tnpu.edu.ua/handle/123456789/12849 2026-04-04T15:12:02Z 2026-04-04T15:12:02Z http://dspace.tnpu.edu.ua/handle/123456789/32586 2024-05-02T11:55:55Z 2019-01-01T00:00:00Z

Назва: Наукові записки Тернопільського національного педагогічного університету імені Володимира Гнатюка Опис: Повнотекстові наукові записки

2019-01-01T00:00:00Z Гладчук, Марта http://dspace.tnpu.edu.ua/handle/123456789/13184 2019-08-12T08:47:10Z 2019-01-01T00:00:00Z

Назва: Сучасні тенденції застосування трансформаційного формоутворення у предметно-просторовому дизайні Автори: Гладчук, Марта Короткий огляд (реферат): У статті окреслено сучасні тенденції застосування трансформаційного формоутворення в дизайні предметно-просторового середовища. На основі ґрунтовного аналізу наукових публікацій та світового проектного досвіду відповідної тематики в роботі запропоновано п’ять основних тенденцій, описано їх характерні особливості та специфічні вимоги до об’єктів, які проектують відповідно до них. Встановлено, що описані тенденції в різних сферах дизайнерської діяльності проявляються більшою чи меншою мірою, залежно від потреб кожної конкретної сфери.; В статье очерчены современные тенденции применения трансформационного формообразования в дизайне предметно-пространственной среды. На основе тщательного анализа научных публикаций и мирового проектного опыта соответствующей тематики в работе предложено пять основных тенденций, описаны их характерные особенности и специфические требования к объектам, проектируемых в соответствии с ними. Установлено, что описанные тенденции в различных сферах дизайнерской деятельности проявляются в большей или меньшей степени, в зависимости от потребностей каждой конкретной сферы.; The aim of the article is to highlight the modern tendencies of application of transformational shape-forming in the objective-spatial design. On the basis of a thorough analysis of scientific publications and world project experience related to this topic, 5 main tendencies were proposed: 1. Functionality augmentation or the tendency to complication – is a result of a high demand for multifunctional furniture and equipment, which can replace the multiple single-function furniture pieces of different functional zones, in the conditions of small-sized housing. The practical significance of such furniture and equipment is determined by the number and quality of the functions performed. The purpose of such objects is to provide comfortable, full-fledged accommodation of people in a limited space of small-size housing. The design objects must meet such requirements as multifunctionality, ability to replace all, or almost all single-function furniture of a specific functional zone, constant adaptation to human needs, etc. The largest number of examples corresponding to this tendency belong to the field of design of furniture and equipment for residential areas (for example: Joe Cesare Colombo’s “Universal living container for teens”, Luke Nechetto’s Cubitat housing module and Boxetti modular furniture transformers). 2. Semantic and figurative oriented transformation – is focused on the process of transformation itself, the ideas it represents, but not the number of possible functions. The goal is to bring transformational shape-forming to a qualitatively new level of artistic perception and positioning of the objects with variable geometry as the pieces of art. This trend is promising for the development of public and exhibition spaces, kinetic sculptures and installations, conceptual alternative housing and office spaces, and is more common in art and architecture than design. Requirements for objects are: non-standard design solutions, positioning of the transformation process as an artistic installation, presence of a powerful semantic load that dominates the functional component. Examples: the Monohedron mobile house by Andrej Cverha, “Living” sculptures by Lee Hunbo, etc. 3. Development of objects with a high level of mobility and compactness – a trend which is focused on creating the most compact and mobile furniture and equipment possible. The purpose of this type of design objects is to provide all the necessary conveniences in conditions of the maximum limited spaces and field conditions of use without complicating the process of their transportation. The following requirements must be met: maximum compactness and simplicity of product design, high level of transport mobility, prevailing role of functional potential over figurative solution. The main areas of application are mobile furniture, equipment and housing (for example: furniture transformers by Kenchikukagu, LAGOON mobile housing module by Diana Manole). 4. Furniture for the general development of the child – results in the creation of furniture and equipment with the possibility of its adjusting to changes in the anthropometric parameters of the growing child. Requirements are as follow: high level of ergonomics, safety and intuitive clarity of design, variability of the main parameters of the product in the process of transformation. The first attempt in this area was the children’s armchair developed by the Danish architect Christian Solmer Vedel in 1952. Today, furniture that grows and transforms with the child is offered by many companies (in Ukraine, the furniture of Moll is common). 5. Eco Friendliness and safety – a fundamental trend of the modern design industry. Almost all contemporary design, mobile housing and architecture concepts are built on the principles of environmental friendliness and take into account the possibility of autonomous energy supply. The goal is to improve the performance of products, increase their environmental and safety standards. The basic requirements are: compliance with the requirements of eco-design, the use of autonomous power supply systems (where needed), the possibility of installing natural resource recovery systems. In design of transformative furniture and equipment this tendency is mostly limited to the use of environmentally friendly and recycled materials. Significantly wider this trend is represented in the fields of mobile housing and architecture (for example, the Domespace house). In conclusion, the current trends of transformative objects design show that in the first place people seek for a well thought out functional component of products and structures with variable geometry, often neglecting a figurative solution. For the most part, transformers are considered as auxiliary objects, which allows one to improve the functionality of stationary and mobile housing. However, a large number of conceptual projects, recently developed on the basis of the principle of “transformation for the sake of transformation”, show that public interest in objects with variable geometry as pieces of art is growing actively, as a way of expressing ideas which could not be transmitted through the means of traditional art and design.

2019-01-01T00:00:00Z Семесь, Катерина http://dspace.tnpu.edu.ua/handle/123456789/13183 2019-08-12T08:36:50Z 2019-01-01T00:00:00Z

Назва: Старообрядницькі поселення Подільської губернії як елемент культурного життя Східного Поділля останньої чверті XVII – початку ХХ століть Автори: Семесь, Катерина Короткий огляд (реферат): У статті описано специфіку старообрядницьких поселень сучасного Жмеринського району в контексті культурних традицій Поділля. Висвітлено вплив історичних подій на спосіб життя та культурні традиції даних громад. Досліджено їх внесок у формування адміністративно-територіального устрою Жмеринського району (зокрема, на утворення нових поселень та їх районування), особливості будівництва і провідні види діяльності – традиційні для старообрядців загалом та специфічні, властиві тільки для даного регіону.; В статье описано специфику старообрядческих поселений современного Жмеринского района в контексте культурных традиций Подолья. Освещено влияние исторических событий на образ жизни и культурные традиции данных общин. Исследовано их вклад в формирование административно-территориального устройства Жмеринского района (в частности, на образование новых поселений и их районирование), особенности строительства и ведущие виды деятельности – традиционные для старообрядцев в целом и специфические, присущие исключительно для данного регион.; Eastern Podillya is a multi-religious land, various ethnic groups lives here side by side for many centuries. They were obeyed to common laws and made a joint contribution to the development of their cities and villages. Simultaneously, different communities tried to preserve their own cultural identity, therefore they were creating separate settlements with unique architecture, traditions and specification. This multicultural palette was not stable due to constant changes in historical and political terms. Some nations received support, while others were oppressed. Because of this, the community of Old-Believers has been severely affected. But despite the permanent persecution and assimilation policy of the USSR, the Old-Believers communities of Eastern Podillya still retain their history, religion and cultural traditions. The appearance of the Old-Believers in Ukraine is connected with persecution of them in Russia in the late XVII century. Many of them settled in the Podillya lands, since the then Polish authorities were interested in new settlements and gave them religious and economic privileges. In view of the constant harassment of the Old-Believers faith on the part of the Russian Empire, the Old-Believers communities were mostly closed and settled far from the rest of the people, often in the forests, which affected their place names. Even in mixed settlements, the Old-Believers lived separately, preserving their specific social and cultural features: language, national costumes, architecture and type of activity. The modern Zhmerynka district is one of the most famous multicultural centers of the Eastern Podillya. At least four ethno-religious communities live here for centuries. The Old-Believers had a significant influence on the formation of the administrative-territorial structure of this region. The first Old-Believers settlement – the village of Chernyatin – emerge here in the XVII century on the land of the Polish prince Lyubomyrsky. Subsequently, a new landowner evicted them to the south, and they founded a new settlement in the forest, which was called Sloboda Cherniatynska. At the new place, they immediately built a wooden church in a log house, which was later named after St. Philip. They had an unconventional specification – they were engaged in gardening and growing fruit and berry crops. The people from Sloboda Cherniatynska founded two more villages – Martynivka and Oleksandrivka, where Ukrainians and Russians lived together. The village of Zhukivtsi from the beginning was multi-religious: Orthodox, Old-Believers, Catholics and Jews lived here together. The Old-Believers of Zhukivtsi were strongly united and organized for defending of their own property and religious interests. For example, they managed to rebuild a burnt church in a time, when it was forbidden by Nicholas I. To get around the ban, the building of a new temple was made secretly in the woods, after that it was transported and assembled overnight. In accordance with the Old-Believer tradition, this church is assembled from a log without any nail and has two domes. The village of Ludavka is also multi-ethnic. It is as divided into two parts: the western parts of the village occupy Ukrainians, and in the east live Old-Believers from Russia. Both ethnic groups were mostly engaged in agriculture, and most of the Old-Believers also rented gardens and worked on stone and joinery work. Well-known the Old-Believers family of the Bahins, who manufactured and sold wheels for the wagons. In Ludavka was an Old-Believer church, which had one dome and a three-tiered iconostasis. It was exposed to fires twice and was rebuilt both times, but in the 1960’s the Soviet authorities shut her down and transformed into a village club. The Old-Believers of Ukraine are a distinct ethnic group that differs both from the indigenous population and from the Russian Orthodox who live here. Living in a foreign country, even in the multi-ethnic settlements, they tried not to assimilate with the local population and retain their traditions. At the same time, the Old-Believers of the Zhmerynka district partially accepted the tradition of gardening of the Ukrainians, adapting it to their own needs.

2019-01-01T00:00:00Z Вергунова, Наталія Вергунов, Сергій http://dspace.tnpu.edu.ua/handle/123456789/13182 2020-05-27T06:23:07Z 2019-01-01T00:00:00Z

Назва: До питання про виникнення промислового дизайну на пострадянському просторі (20-ті роки ХХ століття) Автори: Вергунова, Наталія; Вергунов, Сергій Короткий огляд (реферат): У статті досліджено питання про формування промислового дизайну на пострадянському просторі у 20-х роках ХХ століття. Розглянуто особливості становлення і розвитку цього процесу з позицій термінологічного обґрунтування. Охарактеризовані смислові наповнення понять “мистецтво” і “виробництво” деяких теоретиків того часу, а також їх спроби щодо пошуку синтезу між мистецтвом, працею і виробленою продукцією, в процесі якого формувався новий вид професії, котра стала своєрідним протодизайном ХХI століття.; В статье исследован вопрос о формировании промышленного дизайна на постсоветском пространстве в 20-х годах ХХ века. Рассмотрены особенности становления и развития этого процесса с позиций терминологического обоснования. Охарактеризованы смысловые наполнения понятий “искусство” и “производство” некоторых теоретиков того времени, а также их попытки в поиске синтеза между искусством, трудом и произведенной продукцией, в процессе которого формировался новый вид профессии, ставшей своеобразным протодизайном ХХI века.; The beginning of industrial design’s formation started in the 20s years of the last century. It was the time of severe shocks of revolution – the First World War (1914–1918), which passed through a series of revolutions (February’s bourgeois-democratic and October Socialistic 1917) in the civil war (1917/1918–1922/1923), which still are ambiguous and controversial. At the same time, these events have opened the new horizons and unexpected perspectives to millions of people, including culture. At that time the concept of new relations between art and production was developed, as well as its ideological saturation and functional purpose; a new type of profession was formed, which became a kind of protodesign of ХХI century. These fundamental and often irreconcilable complexities and contradictions can be traced in numerous articles of theorists (ideologists): O. Bric, N. Punin, B. Kushner, N. Tarabukin and others. Each of them has a personal point of view in terms of semantic content of “art” and “production”. Their vision of these categories, concerning their practical application for the creation of “new life” in general and new objects (things) of this life in particular, is also different. Some of them were concerned about the transformation of “pure” art into proletarian art, while others considered the main issue as an industrial relations and their reorganization in new realities. The search for the synthesis between art, labor and manufactured products for everyday life became the main theoretical and practical task of “productivism” (industrial art). At the same time, the nature of labor was the key point in all this; these theoretical calculations were contributed to the emergence of a new design and artistic activity, which is now called industrial design. Some attempts to find semantically correct names for a new profession and to offer a successful lexical form of this term were done. These are artistic work, industrial art, engineer constructor, artist-visualizer, engineer-artist. The last term turned out to be the closest to a term “artist-designer” that appeared in the postwar period and was written in diplomas until 1992. Thus, the formation of industrial design in the post-Soviet space in the 20’s of ХХ century showed that most theoretical definitions and assertions in terms of concretization of the strategic tasks in art and production relations were inherently denying. They were also lack in constructive proposals based on practical achievements or theoretical consideration of proposed changes. Moreover, the prevailing diversity and polarity of thoughts led to the impossibility of defining the new art in terms of profession’s terminology, as well as its policy quidlines, which, in turn, could become its theoretical and methodological basis. In fact, this discrepancy of content dominant in this process of actively seeking solutions to emerging problems made certain postponement and it took almost fifty years (ICSID, 1969) for a common definition of industrial design to come.

2019-01-01T00:00:00Z