До питання про виникнення промислового дизайну на пострадянському просторі (20-ті роки ХХ століття)

Abstract

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.