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Overview of the main problems in theory and practice of Ukrainian design in context of global trends

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PL
Przegląd głównych problemów w teorii i praktyce designu ukraińskiego w kontekście trendów globalnych
Języki publikacji
EN
Abstrakty
EN
Admiration for design culture, aesthetics-function interaction and the inclusion of design methods in business processes – natural global trend of post-industrial information society. Nowadays „design” considered as an entire process and it`s result, even also as a method of thinking. Specifics of the establishment designer as a profession in Ukraine and typical main problems of design theory and practice described in an article by author from position of teacher, researcher and also practicing designer.
PL
Podziw dla kultury projektowej, interakcja estetyki i funkcji oraz włączenie metod projektowania w procesy biznesowe – to naturalne światowe trendy postindustrialnego informatycznego społeczeństwa. Współcześnie za "design" uważa się cały proces projektowy, jego rezultat, a nawet sposób myślenia. W niniejszym artykule opisano specyfikę zawodu projektanta na Ukrainie, typowe problemy teorii i praktyki projektowania z pozycji nauczyciela, badacza, a także praktykującego projektanta.
Czasopismo
Rocznik
Tom
Strony
107--120
Opis fizyczny
Bibliogr. 30 poz., rys.
Twórcy
autor
  • Lviv Polytechnic, National University, Institute of Architecture, Department of Urban Planning
Bibliografia
  • [1] Altshuller, H., How Creativity Fine science. 2 ed., advanced. Petrozavodsk, Russia: Skandynavyya 2004, 208–209.
  • [2] Arnkheym, R., Art and visual perception. A Psychology of the Creative Eye. Berkeley and Los Angeles: University of California Press 1974, 88.
  • [3] Brown, T., Change by Design: How Design Thinking Transforms Organisations and Inspires Innovation. NY, Harper Collins Publishers 2009.
  • [4] Brown, T., Wyatt J., Design Thinking for Social Innovation. Stanford Social Innovation Review Winter 2010.
  • [5] Danylenko, V., Design of Ukraine in the World Context of Art-Design Culture of the XX Century (National and Global Aspects). PhD, LNAA 2006.
  • [6] Friedman K., Models of Design:Envisioning a Future Design Education / Visible Language 2012, Vol-46, 132–153.
  • [7] Fursa, O., Development of design–education in Ukraine and abroad: historical and comparative aspect. Comparative professional pedagogy, Khmelnitsky National University 2011, Vol-2., 123.
  • [8] Habrel, T. Design philosophy basics. Classification of the fundamental tools. Bulletin of Kharkiv state academy of design and arts 2016, 4, 8–14.
  • [9] Hargadon, A., Bechky, B., When Collections of Creatives Become Creative Collectives: A Field Study of Problem Solving at Work. Organization Science 2006, 17(4), 484–500.
  • [10] Henysaretskyy, O., Design and culture. Moscow, Russia: Vniite 1994.
  • [11] Kelley, D., Kelley, T., Creative Confidence. Unleashing the Creative Potential with usall. New York: Crown Business 2013.
  • [12] Leifer, L., Suite-210: A Model For Global Product-Based-Learning With Corporate Partners, Curriculum Innovation Awards: ASME Mechanical Engineering Departments Head Conference, San Diego 1997.
  • [13] Leifer, L., Steiner, M., Dancing with ambiquity: Causality behavior, design thinking, and tripleloop learning. Information Knowledge Systems Management 10, IOS Press 2011, 151–173.
  • [14] Minneman, S., The Social Construction of a Technical Reality:empirical studies of group engineering design practice. Doctoral Dissertation, Mechanical Engineering, Stanford University, Stanford CA 1991.
  • [15] Pallasamaa, J., The thinking hand. UK, John Wiley & Sons Ltd 2009.
  • [16] Papanek, V., Design for the Real World: Human Ecology and Social Change, New York, Pantheon Books 1971.
  • [17] Parsons, G., Philosophy of design. UK, Polity Press 2016, 38.
  • [18] Rowe, P., Design thinking. MIT Press, Cambridge MA 1987.
  • [19] Ryzhova, I., Design in technical high schools of Ukraine, Humanitarian Bulletin ZDIA 2009, Vol-37, 95.
  • [20] Shchedrovytskyy, H., Theoretical and methodological research in design. Moscow Russia: School of cultural policy 2004.
  • [21] Smolyar, O., Features of the formation and evolution of the world and domestic design. Culture of Ukraine. 33. Kharkiv, Ukraine: Ksada 2011.
  • [22] Setkowicz, P., Is it still worth thinking with hands? Technical transactions architecture 2015, Vol. 4-A.
  • [23] Sydorenko, V., Ustynov, A., Kondrat'eva, K., Moscow School of Design. Moscow, Russia: Vniite, 1992.
  • [24] Tatiyivs'kyy, P., Peculiarities of formation and prospects of design development in Ukraine. PhD. KNUBA 2002, 12.
  • [25] Tscherkes, B., The National Identity in the Architecture of Public Centers of Capital Cities under the Condition of Ideological Determination. PhD. KNUKA 2006, 13.
  • [26] Titarenko, V., Development of design education in of high schools in Ukraine. Scientific notes of Ternopil National Pedagogical University named after Volodymyr Hnatyuk, TNPU 2016, Vol-2, 289.
  • [27] Tschimmel, K., Santos, J., Loyens, D., Jacinto, A., Monteiro, R., Valenca, M., Research Report D-Think Design Thinking Applied to Education and Training, ESAD Matosinhos, Portugal 2015.
  • [28] Turchyn, V., Features of formation of design and creative thinking designer. PhD. KSADA 2004, 22.
  • [29] http://telegraf.design/dizajn-osvita-v-ukrayini-yak-spravi-j-shho-robiti/, access: 05.2017
  • [30] https://osvita.ua/ access: 04.2017
Uwagi
Opracowanie ze środków MNiSW w ramach umowy 812/P-DUN/2016 na działalność upowszechniającą naukę (zadania 2017).
Typ dokumentu
Bibliografia
Identyfikator YADDA
bwmeta1.element.baztech-64afd2cd-f924-46c9-b750-7c34466e6314
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