The 4
th
stage (The search of optimal meaning ideologies) has not
enoughufficiently "historic distance" and that’s why its thorough and comprehensive
analysis is still ahead. It is focused on state-of-the-art technologies and science
achievements. Here design has achieved a new level of its own all-round which needs
to be coordinated not only with the advantages, but also the disadvantages of such
opportunities. Among the recognized tasks of modern design, we can outline: solution
of the growing ecological problem, formation of the corresponding culture of
consumption, provision of conditions (environment) for individual, national and
cultural identification of a person, finding ways to integrate with as many human
spheres as possible and more.
So, thanks to the application of the historical approach, we are talking about
design (and not about any other phenomenon) today and we have an opportunity to
realize its evolution, according to which the content of what we invest / understand
under the notion of "design" is being harmonized. Design development should be
considered as a gradual qualitative transformation of tasks, methods and the final
product design activities. So, “if you imagine the history of design as a change in its
base object, its beginning is the design of individual things — products, instruments,
machines, covers, etc. While the design that began in the 60s of the last century is
devoted to the formation of the environment — subject systems and ensembles
harmoniously associated with the peculiarities of architectural situations” [5, p.61]. So,
by analogy, we can assume that the "3
rd
Design" (which coincides with the third period
of its development) was aimed at the formation of culture, and the present "4
th
Design"
is a kind of search for ideological systems and meanings.
Сulturological approach contributed to the problematization of design in
culture, actualization of design as a phenomenon of culture only from the 2
nd
half of the
XX century. This is due to the fact that culturology, as a science, is relatively young;
its independent history, as suggested by American scientist Leslie Elvin Wyatt, the
term "culturology" fell into the field of view of a wide range of scholars after the
publication of collections of his works "Science of Culture" in 1949, "Evolution of
Culture", 1959, "The Concept of Culture", 1973.Right in that period, the practical
design problem has become evolving. It becomes obvious that in many respects the
design begins to determine the general view of the world culture of this period. In the
context of reflecting the trends in understanding the cultural role of design, the
definitions of the Soviet researcher L.N. Sleep, he presented in the article "Design in
modern culture". He describes the design as "a specific creative activity of man
associated with the scientific and technological revolution and the mass production of
industrial products," and notes that "the real design exists in the modern world in within
the limits of two opposing social systems, that his being indirectly belongs to two
opposing cultures" [1, p. 163]. These polar systems obviously considered different
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