essences of the socialist and capitalist types of cultures, without taking into account the
peculiarities of which it was not possible to know the patterns of design
development.He offers a more powerful definition of design - "a special creative
activity in the design of harmonized elements with the human subject environment and
their complexes (including the system organization of the whole subject environment
as a whole), the corresponding social and cultural values that are realized by means of
modern industrial production" [1, с. 164].At the same time, he points out that the
design is oriented on different cultural parameters and, through the aesthetic
organization of the whole subject environment, it is connected with the spiritual and
artistic components of culture. An evaluation of the results of design activities is
proposed to be considered as the adaptability of the created thing to man. It should be
appropriate to its individual psychophysiological characteristics and socio-
psychological requirements of the moral and aesthetic needs of different social groups.
M.C. Kagan emphasizes that the works of design in their special plastic language
demonstrates their own beauty and elegance, their majesty or the ability to glorify
human labor, and even to glorify the power of the state [17].
Some other contemporary researchers point to the unity of things and culture. I.O.
Rosenson explains the ability of a single individual instance to represent a particular
region or, even, the whole historical period.The same object, removed from the context
of its cultural environment, will store much more than just formalized qualities. The
author gives an example, where the peculiarities of the formation of the same object —
cups (in different cultural contexts) — are also, for example, the formation of ideas
about the aesthetics of the breadth of the Russian soul, restraint of the tea ceremony in
Japan, or the elegance of the English tea style. It is obvious that the thing in culture
serves as a carrier of style and characteristic features of human life. Therefore, it not
only carries the image of the original culture that created it, but also employs in itself
all the ideas and contents that this culture is endowed with in the minds of people at a
certain stage of their development [13, p. 27-28]. We can assume that in order to break
the human connection with certain culture and create new one, it is enough to change
its material environment.
In general, the main culturological interpretation of design is its attribution to the
everyday culture in which it has an installation not to the author's expression or to
compliance with certain aesthetic laws, but due to the level of development of taste,
the nature of expectations and preferences or requests, etc., consumers of this everyday
culture. Thus, the design refers to such a phenomenal fact as a fashion that in its
broadest interpretation denotes the measure, standard, norm, method, manner, action,
form, form, property, quality, nature and acts as the main mechanism, logic or
ideology. According to A. Smith, in the first place, it is characteristic of the place where
the main thing is a sense of taste. Any fashion — it's an alternate way of life (by I.
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